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Based on 16 Reviews
critic reviews (10)
fan reviews ( 0 )
  • 75
    Carrie Rickey Philadelphia Inquirer

    Apart from Connery, the star of the film is Mamet's deadpan script, which obviously inspired one of the movie's baldest old-movie tributes. show more

  • 100
    Bill Cosford Miami Herald

    This is a big, beautifully designed movie in which the filmmakers' intelligence is everywhere; it's the product of a special vision. And Brian De Palma continues to be good news from Hollywood. [3 June 1987, p.D1] show more

  • 100
    James Berardinelli ReelViews

    May not have much thematic depth, but it represents two hours of pure, exuberant entertainment – an epic gangster tale rendered on a grand scale. show more

  • 88
    Gene Siskel Chicago Tribune

    Ethics aside, the filmmaking by DePalma is stylish and alternates between shocking surprise and hold-your-breath quiet. show more

  • 75
    The Globe and Mail (Toronto)

    De Palma's visual acuity tends to blur into mere gimmickry without the benefit of a resonant script. He got one in Carrie and another in Blow Out. Here, Mamet makes do with a text that is always shrewd but never intelligent. Still, when shwrewdness meets style, smoothing the curves and polishing the twists, the ride becomes a bonafide crowd-pleaser. The Untouchables is the cheering people's happy choice. [4 June 1987] show more

  • 63
    Roger Ebert Chicago Sun-Times

    De Palma's Untouchables, like the TV series that inspired it, depends more on cliches than on artistic invention. show more

  • 50
    Eric Henderson Slant Magazine

    Steeped in De Palma's glorious violence and sinuous cinematography, but stripped of his tricky sensuality and his anarchic self-reflective wit, The Untouchables boils down to a lot of talk. show more

  • 80
    Ian Nathan Empire

    Superb performances, exquisite direction and that Ennio Morricone score create an authentic 1920s Chicago feel and a hugely entertaining crime drama. show more

  • 100
    Vincent Canby The New York Times

    Hollywood's latest big-budget, high-concept, mass-market reworking of material not entirely fresh, has more endings than Beethoven's Fifth, but it's also packed with surprises, not the least being that it's a smashing work. It's vulgar, violent, funny and sometimes breathtakingly beautiful. show more

  • 100
    Richard Schickel Time

    Mamet's elegantly efficient script does not waste a word, and De Palma does not waste a shot. The result is a densely layered work moving with confident, compulsive energy. show more

similar movies

  • Public Enemies (2009)

  • Miller's Crossing (1990)

  • Road to Perdition (2002)

  • Sin City (2005)

  • Reservoir Dogs (1992)

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