Ranking sex web linterna verde completa online dating
However, Douglas and Cassavetes both tear into their parts with obvious zeal, the rousing score by John Williams is one of his most underrated and De Palma's trademark set-pieces are among the most beautifully conceived and executed of his entire career.
And if you happen to be of the belief that John Cassavetes is one of the most overrated and boring filmmakers of his time, there is an excellent chance that you will deem the film's gleefully gory sendoff for his character to be the single greatest ending in cinema history.
5) "The Untouchables" (1987): This crowd-pleasing screen version of the old television show chronicling the Prohibition-era war in the streets of Chicago between straight-laced government agent Elliot Ness (Kevin Costner) and famed mob boss Al Capone (Robert De Niro) proved to one of the biggest hits of its year and of De Palma's entire career and it isn't hard to understand why.
Utilizing a straightforward cinematic style reminiscent of the works of John Ford, an endlessly quotable screenplay by David Mamet and the undeniable star power of Costner, De Niro and Sean Connery (who won an Oscar for his work as Ness' partner and mentor), De Palma came up with a classic gangster saga that also allowed him to pull together amazing scenes like the raid on bootleggers on the Canadian border and the famous "Battleship Potemkin"-inspired shootout on the steps of Union Station with a baby beatifically bouncing between the bullets.
Create Your Account We offer a wide range of resources for families with children.
When a parent becomes disabled or dies, we have programs and benefits to help secure the family’s financial future.
Throw in great performances across the board (Travolta has never been better, Allen never more lovable and sympathetic and John Lithgow and Dennis Franz never sleazier as two of the guys involved in the "accident"), a straightforward style that is still electric despite the relative lack of visual pyrotechnics (the scene in which Travolta fuses his soundtrack to a series of photos taken during the accident to make his own Zapruder-like film may be the most spellbinding thing De Palma has ever filmed) and a gut-punch of an ending that can still be felt after 30 years and you have De Palma's masterpiece and a film permanently enshrined in my personal all-time Ten Best list. ambassador (Peter Coyote), she returns to find herself the target of an ambitious photographer (Antonio Banderas) and her recently released former partners.
Some are better than others but with few exceptions, they are all the work of a singular director with a singular vision that stand out all the more amidst its committee-created competition and which make even his weakest efforts more interesting than the best works of most other filmmakers working today.1) "Blow Out" (1981): In this masterful thriller, John Travolta plays a sound man for a sleazy movie producer who inadvertently records a car plunging off a bridge containing a potential presidential candidate and a hooker (Nancy Allen) whom he manages to rescue.
De Palma clearly made this film with tongue planted firmly in cheek but many observers failed to get the jokes and criticized it for being too silly.
Although the story gets bogged down a little in the early going, this is still a hugely entertaining work that contains a tour-de-force performance by Lithgow that finds him playing no fewer than five characters, several stand-out sequences (such as the hilariously twisted flashback involving the first kiss between Bauer and Davidovich) and a brilliant take on what is usually the least interesting scene in films of this type—the bit where someone is brought in out of left field to explain the whole plot, something that Hitchcock himself struggled to pull off in "Psycho." 10) "Scarface" (1983): After turning down the chance to direct "Flashdance," De Palma signed on to helm a jumbo-sized remake of the 1932 Howard Hawks crime classic that transferred the rise and fall of a violent and twisted gangster from Prohibition-era Chicago to cocaine-era Miami.
11) "The Fury" (1978): After failing to get other projects off the ground, De Palma made the curious decision to follow up "Carrie" with another film involving teenagers with telekinetic powers—this one, based on the John Farris novel, involving an increasingly unhinged young man (Andrew Stevens) whose terrifying psychic powers are being exploited by a clandestine government agent (John Cassavetes) and an equally powerful girl (Amy Irving) who teams up with the boy's father (Kirk Douglas) to track him down.
Make no mistake, this is an awesomely silly movie in many regards—it basically plays like a compilation of all the scenes of paranormal carnage that he devised for "Carrie" and then abandoned in order to concentrate on the more human elements of the story—and Stevens and Irving are both pretty horrible as the young leads.