F.-Murray-Abraham Movie Reviews

Everyone who has walked the face of this earth has at one time in his or her life, dreamed of becoming an extraordinary person. It is in our nature to dream of growing into something unique and beautiful. The journey of life is and will never be an easy voyage. Some will fall...and some will succeed; It's up to the individual to turn that dream into a reality. In this movie BEYOND THE STARS, Eric (Christian Slater) has his dream in sight and is willing to do anything to one day accomplish it. Eric wants to walk among the stars and touch the face of the moon. When he is sent to his father's house in Ceder Bay Oregon for shooting a model rocket through a school window; He realizes that an ex-astronaut (Martin Sheen) is living in the same town as his father. To Eric this man is a legend, someone who has been where he one day wants to go. Eric meets a beautiful girl who just so happens to know this living hero. But Paul Andrews (The Astronaut), is nothing but; He is now a drunk, who wants to be left alone and never wants to talk about his time away from our home. Eric is severly hurt but eventually decides to do what ever it takes to be Paul's friend. Eric gets his break when Mr. Andrews offers him to help in constructing a grand greenhouse. Knowing that he won't get any money, Eric still agrees to help him. And through this decision they grow as true friends and there friendship eventually brings Eric and his father closer than they've ever been before. What Eric doesn't know is that some years earlier on Paul's last mission to the moon; He stumbled upon something magical buried within a crater. And as he was attempting to uncover the ancient relic a heavy cloud of radiation caught up with him, taking a piece of his life as it passed by. Paul knew that he was poisoned and that it was too late to escape the wrath of the deadly cloud; So he ordered his men to safely lock the hatch to the pod. They had to set helplessly, knowing that through the passage of many years the radiation would eventually take the rest of him. Paul decided in the dark of the lunar surface that the relic would be his and that no one would ever find out - that is, until Eric comes along. This story is so inspiring. It asks so many important questions and shows us that friendship is an important part of life; Without it this world would be an empty place. This movie in a way models our own life - We all dream - We all want our privacy - And we all question our own existence. BEYOND THE STARS is a film that will forever live within the hearts of every dreamer. It has shown me to never let go of a dream - And to never deny friendship - Both are extremely powerful and vital to every human being. So friend, if you are down and need to be lifted up beyond the stars - Find this movie, or buy it whenever it is re-released.

Everyone who has walked the face of this earth has at one time in his or her life, dreamed of becoming an extraordinary person. It is in our nature to dream of growing into something unique and beautiful. The journey of life is and will never be an easy voyage. Some will fall...and some will succeed; It's up to the individual to turn that dream into a reality. In this movie BEYOND THE STARS, Eric (Christian Slater) has his dream in sight and is willing to do anything to one day accomplish it. Eric wants to walk among the stars and touch the face of the moon. When he is sent to his father's house in Ceder Bay Oregon for shooting a model rocket through a school window; He realizes that an ex-astronaut (Martin Sheen) is living in the same town as his father. To Eric this man is a legend, someone who has been where he one day wants to go. Eric meets a beautiful girl who just so happens to know this living hero. But Paul Andrews (The Astronaut), is nothing but; He is now a drunk, who wants to be left alone and never wants to talk about his time away from our home. Eric is severly hurt but eventually decides to do what ever it takes to be Paul's friend. Eric gets his break when Mr. Andrews offers him to help in constructing a grand greenhouse. Knowing that he won't get any money, Eric still agrees to help him. And through this decision they grow as true friends and there friendship eventually brings Eric and his father closer than they've ever been before. What Eric doesn't know is that some years earlier on Paul's last mission to the moon; He stumbled upon something magical buried within a crater. And as he was attempting to uncover the ancient relic a heavy cloud of radiation caught up with him, taking a piece of his life as it passed by. Paul knew that he was poisoned and that it was too late to escape the wrath of the deadly cloud; So he ordered his men to safely lock the hatch to the pod. They had to set helplessly, knowing that through the passage of many years the radiation would eventually take the rest of him. Paul decided in the dark of the lunar surface that the relic would be his and that no one would ever find out - that is, until Eric comes along. This story is so inspiring. It asks so many important questions and shows us that friendship is an important part of life; Without it this world would be an empty place. This movie in a way models our own life - We all dream - We all want our privacy - And we all question our own existence. BEYOND THE STARS is a film that will forever live within the hearts of every dreamer. It has shown me to never let go of a dream - And to never deny friendship - Both are extremely powerful and vital to every human being. So friend, if you are down and need to be lifted up beyond the stars - Find this movie, or buy it whenever it is re-released.

Dreyfuss is brilliant in this rarely seen gem. He's a freelance private eye juggling an ex-wife and her guru, two precocious kids, a leftist ex-radical mother, a new romance with an old flame, and a trunkful of counter culture ideals seemingly UN-chic in the wasteland known as the 1970's. All this and a great murder mystery to boot. Am I the only one who saw it? At this price I guess I will be. If you get a chance to see it, do...it's great! Too bad Leon's song is left out--what were they thinking?

I've never seen it, but I think J.D. Morgan is a great actor

I've never seen it, but I think J.D. Morgan is a great actor

This film is part of the Trimark Home Video Bible series. It is refreshing to know that new movies about the Bible are still being made.

This movie is from the book of Esther. If you are watching the whole video series, you should watch "Jeremiah" before this one. It will explain the first part of the movie. The actor playing the king in "Jeremiah" is also the king played in this movie. This was not intentional.

To keep the movie to an hour and a half, there have been some things added. I do feel that these neither change anything in the Bible nor do they distract the viewer. I find this to be a good tool in learning the book of Esther.

The end of the movie speaks of Ezra and what he did for the people. It sounds like a lead-in to another movie, but alas, there is no movie on the book of Ezra.

I would recommend this movie.

Esther shines as a light in a dark place, and the story follows closely the biblical account in a beautiful way. Esther is portrayed radiantly, as is her uncle Mordecai, played with intensity by F. Murray Abraham. History has shown what the consequences of her actions were - "how God has allowed you to live in such a time like this." It's a wake-up call for us all.

With so much tasteless stuff comming out of hollywood these days this movie was a refreashing change. I enjoyed the fact that it remained with the biblical storey of Esther...ever so much portraying the king as a flake. Great movie and well done just like Jacob, David, Abraham and the rest of those movies that have been recently produced. Louise Lombard was perfect for the part of the biblical Jewish Queen Esther.

Anthony Schaeffer re-wrote and re-thought his successful and controversial stage play Amadeus and worked with Milos Foreman to create the film. He softened some of the plays most outrageous moments and added a little more historically accurate details.

The central conflict in the film (like the play) between Antonio Salieri and Amadeus Mozart is of course purely an invention of the play write. It may be somewhat believable a highly respected rich, court composer would be envious to the point of jealous murderous hatred of the the more talented ,but crass and boorish, musical genius, Mozart, but it never happened. I find the idea a clever device with which to weave a tale around.

The location filming in Prague by Miroslav Ondricek, the billowy costumes, and the music lend a beautiful 18th century feel to the film. The American accents, and some modern slang at times jar us out of the period. It's easy to forgive the exciting moments of Mozart conducting (utterly inacurately) because of how visually exciting the frame looks while he flails his arms about. I wonder however why Hulce didn't watch some Bernstein's concerts to be a little more accurate and nearly as dramatic in his conducting.

There are some absolutely poetic moments in the film. One of the best scenes is when Salieri is reading the music Mozart's wife has brought to the palace to beg for her husband's job. Abraham seems to be tasting the finest food he's ever eaten as he 'hears' the music by reading it. He deserved his Oscar on the basis of this scene alone.

There are scenes where music is brought vividly to light, from page, to the film's sountrack to the opera house. Whatever flaws the film has, these scenes are so wonderfully realized it would be easy to forgive almost anything in order to have such a highpoint in cinema.

Mozart who is blessed with unbelievable amounts of talent, doesn't know how to behave, breaks the rules, isn't punished for his mis-behavior, but in a manner of speaking is squandering his time and talent on frivolous pursuits. Composing music is nearly effortless it seems for Mozart, while for Salieri it is hard difficult work resulting in at best above average operas. He boasts about writing 40 of them, but Mozart can take a piece which has taken Salieri weeks to perfect and re-write it, turning it into a near masterpiece in just a few minutes. Salieri prayed when he was a young boy, to be able to compose music, and in return he would offer his chastity. Fate allowed him to be a composer and Salieri believed he owed God his chastity for his gift. Alas Salieri's musical gifts are common compared to Mozart's genius. We can understand how this very crass and ill-mannered boy-man-genius, who has slept with the woman Salieri secretly loves, drives Salieri into a hateful rage. He has given up his desire as penance for being a composer and now Mozart has made him realize he is only slightly talented at his craft and not a true artist.

Mozarts talent is so large, over-whelming, and threatening naturally Salieri must destroy it, crush it, get rid of it. It becomes his passion. Destroy Mozart.

It's a narrative that opens up a story of two 18th century composers to a wider audience. And most of the time the film works very well indeed.

F.Murray Abraham as Salieri is our narrator for this story. His performance is one of the finest you will ever see in a film. It's an appropriately balanced performance which resists going over the top (but comes deliciously close on a couple of occasion). .

Tom Hulce's performance is perhaps a bit too deliberate, and maybe his annoying laugh is an actor being given a bit too much rope to create a memorable performance, yet Hulce amazingly avoids hanging himself. He makes it work for him and for the film. When Salieri complains about the 'creature's laugh' we understand how annoying and boorish the laugh is to him.

Jeffrey Jones gives a slyly comic performance as Emperor Joseph the 2nd. Elizabeth Berridge as Mozart's wife also gives a memorable performance.

Chris Jarmick Author of The Glass Cocoon with Serena F. Holder - A steamy cyber thriller available January 2001. Please order it today. Thank You

I first saw "Amadeus" around 1984 when it was first released. Besides being a visual and musical masterpiece of film making, it kick-started my life-long love of and appreciation for classical music.

I won't repeat the story synopsis as it's already been thoroughly described both by Amazon.com's critical review and multiple customers here already.

I will say though that this edition, 'The Directors Cut', is a major improvement over the first DVD release. First, (and finally!!), the movie is now a single-side DVD...gone is the annoying 2 sided 'flipper' that the first release was. You can now watch "Amadeus" from start to finish without having to get up and turn it over. For my money, that's reason enough alone to own this new version.

Secondly, 'The Directors Cut' now adds about 20-30 minutes of previously deleted scenes, placed back into where they were originally intended. Personally I find some of the newer stuff enhances the story overall and fills in some details that were left vague in the original theatrical release. I won't give away any details, but there is a new scene between Mozart's wife, Constanza, and Salieri, Mozart's chief musical rival (and secret arch-enemy) early in the movie that puts an whole new perspective of Salieri's twisted and battered psyche.

As for the DVD itself, the picture and sound quality are both exemplary. Included is a second disk with bonus material including interviews and making-of extras.

If you loved the original, you owe it to yourself to pick up this version. If you're new to classical music and Mozart, this is the best place to start.

lr** Jan 30,2003

HIGHLY RECOMMENDED.

This may be the perfect film, (I know I said pretty much the same thing about "Charade", but...) This is one of the few deserving films to actually receive the Academy Awards (r) that were mandated for it! Unlike "Goldfinger", "2001", "Star Wars" and "The Lion In Winter", "Amadeus" received all the meaningful awards it rightly deserved!

This is a story of envy, covetousness and Machiavellian machinations by a contemporary of Wolfgang Amadeus Mozart, Antonio Salieri, who had the misfortune to be greatly disappointed by his young hero on first meeting. This meeting stayed with him for the rest of his life, as he plotted from his second meeting to rid the Viennese court of "the creature"!

F. Murray Abraham is a revelation in the role of Salieri, relishing every little snarl and curse at Tom Hulce's Mozart and cackling with glee at every triumph, real or imagined, playing the young AND the old Salieri as if he was a spirit ressurrecting Salieri's original corpse. Rick Martin's aging make-up is flawless, making it very easy to believe that Abraham is seventy+ years old as he parlays the role.

The movie starts in an insane asylum where a fey young priest visits the decripit Salieri, who has recently attempted suicide. It is implied from the onset that Salieri feels a massive guilt for having "killed" Mozart through exhaustion and overwork. "MOZART!! Forgive your assassin! I confess...I KILLED you, Mozart! I KILLED you....!"... The very first lines you hear after a massive Beethovenish chord is sounded at the start of the film.

He goes on to tell the priest the story of himself and Mozart in the Viennese court of Emperor Joseph of Austria, portrayed here as an empty-headed fop by the recently notorious Jeffrey Jones. As the prodigal Mozart is about to be introduced to Joseph, Salieri, operatic director Count Orsini Rosenberg, Kappelmeister Bono and a visiting Italian composer, they are shocked to see him as an immature, cocky, obnoxious little boy, rather than the dignified matured prodigy they expected. Salieri is especially disappointed since he had worshipped Mozart when he was younger and emulated him all his life, achieving the rank of Court Composer through the inspiration of this admiration. He had also written a processional piece for Mozart's entrance especially for the reception, only to have Mozart tear it apart as repetitive and derivative, cackling at him with that irritating trademark laugh.

From this moment on, Salieri and Mozart were bitter enemies, although Mozart doesn't realize it. He actually sees Salieri as an ally against the directors of Joseph's musical court, who constantly thwart Mozart's attempts at livening up the moribund Viennese musical zeitgest.

In the end, as Mozart realizes that he may never attain true riches, he grabs at anything that will provide food and a roof over the heads of his young wife and son. Enter, finally, Salieri, disguised as Mozart's late father, to request a requiem mass for a "deserving soul". Mozart dosn't realize that the "deserving soul" is himself!

Maybe th ONLY thing askew about this incredible film is the odd miscasting of Mozart and Emperor Joseph....Tom Hulce bears NO resemblance to Wolfgang A. Mozart, however, Jeffrey Jones, who portrays the emperor, is the spit and image of him. Perhaps they should have checked to see if André Previn, (who looks JUST like him), had a lookalike son or nephew! (However, Hulce pretty much owns the role as Abraham owns Salieri. His portrayal of Mozart as a complete horse's ass is perfect for Peter Schaeffer's purposes.) Elizabeth Berridge's Constanza Mozart is adorable. The poor girl's career, however, went nowhere after this, as did the careers of everybody ELSE in it, except for Jeffrey Jones, and even HIS is probably now kaput!

The sense of humor and the acting of even supernumeraries in the production has to be seen to be believed. (The scene in Schickenader's vaudeville house being an excellent example.)

This movie can't be recommended enough, as it is a thing of near-perfection from beginning to end.

The critics mainly got it wrong. This reissue puts it right. Take one great moment in cinema - the setting is Frank's mansion, the time two minutes after 3am about 30 minutes after Frank had had two workers put about five hundred rounds into a nightclub in an attempt to rid the world of Tony Montano (Tony the Mountain aka Mr Pacino)but missed. Tony has just given sidekick Manny (Mr Bauer) the order to give drug "lord" Frank (brilliant Mr Loggia) the what for after Frank sank to his knees and kissed the shoes of Tony pleading for his life, begging for a second chance, crying to be saved, and Manny dutifully puts one into Frank. Tony then turns his attention to bad guy and Chief of Detectives of Narcotics. Tony gives him one in the guts and then lets him have one in the chest. Tony and Manny turn to leave but Manny says "What about Ernie?" Frank's loyal and ucommunicative sidekick who has been watching the evening's events unfold before his eyes, and, let's say, is now facing an uncertain future. A little overweight, in a suit just a little too small, a worker, loyal, Cuban exile, with beads of sweat on his face, which the camera ponders for about five seconds. Then we see Tony's face for a few moments - "Want a job?" he says, knowing that either way, he's got this guy's life. A great moment in cinema. Many good extras too - especially interviews with Mr Stone and Mr Pacino. Very good value.

Since it's release in 1983, Brian De Palma's "Scarface" has become of the definitive cult classics of American movies, it's excesses have so imprinted themselves into popular culture that it's influence can be found in everything from clothing to popular lingo ("say hello to my little friend!") to rap music and rap videos. And yet, this is not a poorly executed movie, this is a brilliantly excessive crime drama filled with the kind of stylish, gritty quality that made films like "The Godfather" and "Goodfellas" equally effective (eventhough "Scarface" probably still stands as the bloodiest, edgiest film of it's kind). The screenplay was written by Oliver Stone before he became a visceral, provocative director and during the period when he was letting go of that notorious vice known as cocaine, he hung around with real Colombian gangsters and there is a unique authenticity to the film in it's violence and scenarios that helps it paint a portrait of the darker side of the American dream. Al Pacino is merciless and unforgettable as Tony Montana, a Cuban immigrant arriving on Miami's shores and ready to make big bucks and finds his answer with the world of drug trafficking. Watching the film, it is no wonder why Tony Montana has become such a potent figure in popular movie culture, he is a great character, so alluring in his perversity that the word "villain" seems too cartoonish for him. His accent is catchy and his clothes cool and colorful (Stone recently commented on how Montana's style in dress and jewelry can be seen reflected in African-American culture). The film is famous for it's scenes of violence, including a victim chained to a shower and killed with a chainsaw. Director Brian DePalma, not really known for excess gloriously lavishes in it here and films his movie with style and gusto, "Scarface" is unique because it feels like it was made with real respect for the material. Consider that you have one of Hollywood's future greatest directors writing the script and one of American film's most stylish talents directing and on top of that, an iconic actor in the lead role. Even the moody main theme is composed by none other than Giorgio Moroder. The ending is especially deliciously bloody, as if a normal shoot-out is for sissies. "Scarface" remains a potent movie because it has themes we can all relate to, we all want wealth, power and at least one beautiful woman, "Scarface" asks the question of what extremes would one go to to achieve wealth, and is it worth anything when it is dirty money?

The classic to end all classics: Brian De Palma's 1983 remake of the 1932 Howard Hawks classic "Scarface". This movie is loud, brash, over-the-top, relentlessly macho, and filled to the brim with testosterone--and no fewer than 206 F-words--courtesy of De Palma's direction, Oliver Stone's screenplay and Al Pacino's ferocious performance as the exiled Cuban yayo dealer Tony Montana.

The "Scarface" story is well known: the rags-to-riches, exhilirating highs and mind-numbing lows of Tony Montana--a Cuban criminal who is exiled along with 25,000 others by Fidel Castro in 1980. Tony begins as yet another poverty-stricken refugee in a Miami camp (albeit an extraordinarily ambitious one). Soon, though, through a little luck and plenty of sheer ruthlessness he rises astronomically to the top of slimy, bloody Miami cocaine heap in a very short time with the help of his loyal, but none-too-bright friend Manny (Stephen Bauer) and woos the girlfriend (Michelle Pfeiffer) of his "soft" coke-dealing boss (Robert Loggia). However, his ruthlessness and inability to trust anyone--which helped him rise to the top--threaten to become his downfall in the end.

So, what are this movie's strengths? The direction, the eminently quotable screenplay (which has inspired countless rappers and stand-up comedians to this day), and Al Pacino's over-the-top performance quipped with a hilarious attempt at a Cuban accent. There's good reason this film became the cult classic that it is today.

What are the weaknesses? Well, it's THREE HOURS LONG, for one. "Scarface" definitely starts to lose steam during its last hour. Secondly, the music is UNBELIEVEABLY cheesy. The music (and the fashion too) is aggressively, in-your-face 1983. No doubt about it. It's like the composer was aspiring to imitate Frank Stallone, rather than Nino Rota (composer of "The Godfather").

The DVD extras are great, detailing the film's making, its initial reception, and its enormous influence on hip-hop. Noteworthy are the numerous interviews of rappers professing their love of the film, an interview with Oliver Stone who candidly explains how his addiction to cocaine forced him to move to France(!), plus the hilarious censorship placed on this notoriously profanity-laden film when it first got shown on network television (please see the above title).

Twenty years later, "Scarface" has taken its rightful place along the great American gangster films of all time. It may not be as good as "The Godfather", but it's certainly more fun!

The critics mainly got it wrong. This reissue puts it right. Take one great moment in cinema - the setting is Frank's mansion, the time two minutes after 3am about 30 minutes after Frank had had two workers put about five hundred rounds into a nightclub in an attempt to rid the world of Tony Montano (Tony the Mountain aka Mr Pacino)but missed. Tony has just given sidekick Manny (Mr Bauer) the order to give drug "lord" Frank (brilliant Mr Loggia) the what for after Frank sank to his knees and kissed the shoes of Tony pleading for his life, begging for a second chance, crying to be saved, and Manny dutifully puts one into Frank. Tony then turns his attention to bad guy and Chief of Detectives of Narcotics. Tony gives him one in the guts and then lets him have one in the chest. Tony and Manny turn to leave but Manny says "What about Ernie?" Frank's loyal and ucommunicative sidekick who has been watching the evening's events unfold before his eyes, and, let's say, is now facing an uncertain future. A little overweight, in a suit just a little too small, a worker, loyal, Cuban exile, with beads of sweat on his face, which the camera ponders for about five seconds. Then we see Tony's face for a few moments - "Want a job?" he says, knowing that either way, he's got this guy's life. A great moment in cinema. Many good extras too - especially interviews with Mr Stone and Mr Pacino. Very good value.

Since it's release in 1983, Brian De Palma's "Scarface" has become of the definitive cult classics of American movies, it's excesses have so imprinted themselves into popular culture that it's influence can be found in everything from clothing to popular lingo ("say hello to my little friend!") to rap music and rap videos. And yet, this is not a poorly executed movie, this is a brilliantly excessive crime drama filled with the kind of stylish, gritty quality that made films like "The Godfather" and "Goodfellas" equally effective (eventhough "Scarface" probably still stands as the bloodiest, edgiest film of it's kind). The screenplay was written by Oliver Stone before he became a visceral, provocative director and during the period when he was letting go of that notorious vice known as cocaine, he hung around with real Colombian gangsters and there is a unique authenticity to the film in it's violence and scenarios that helps it paint a portrait of the darker side of the American dream. Al Pacino is merciless and unforgettable as Tony Montana, a Cuban immigrant arriving on Miami's shores and ready to make big bucks and finds his answer with the world of drug trafficking. Watching the film, it is no wonder why Tony Montana has become such a potent figure in popular movie culture, he is a great character, so alluring in his perversity that the word "villain" seems too cartoonish for him. His accent is catchy and his clothes cool and colorful (Stone recently commented on how Montana's style in dress and jewelry can be seen reflected in African-American culture). The film is famous for it's scenes of violence, including a victim chained to a shower and killed with a chainsaw. Director Brian DePalma, not really known for excess gloriously lavishes in it here and films his movie with style and gusto, "Scarface" is unique because it feels like it was made with real respect for the material. Consider that you have one of Hollywood's future greatest directors writing the script and one of American film's most stylish talents directing and on top of that, an iconic actor in the lead role. Even the moody main theme is composed by none other than Giorgio Moroder. The ending is especially deliciously bloody, as if a normal shoot-out is for sissies. "Scarface" remains a potent movie because it has themes we can all relate to, we all want wealth, power and at least one beautiful woman, "Scarface" asks the question of what extremes would one go to to achieve wealth, and is it worth anything when it is dirty money?

The classic to end all classics: Brian De Palma's 1983 remake of the 1932 Howard Hawks classic "Scarface". This movie is loud, brash, over-the-top, relentlessly macho, and filled to the brim with testosterone--and no fewer than 206 F-words--courtesy of De Palma's direction, Oliver Stone's screenplay and Al Pacino's ferocious performance as the exiled Cuban yayo dealer Tony Montana.

The "Scarface" story is well known: the rags-to-riches, exhilirating highs and mind-numbing lows of Tony Montana--a Cuban criminal who is exiled along with 25,000 others by Fidel Castro in 1980. Tony begins as yet another poverty-stricken refugee in a Miami camp (albeit an extraordinarily ambitious one). Soon, though, through a little luck and plenty of sheer ruthlessness he rises astronomically to the top of slimy, bloody Miami cocaine heap in a very short time with the help of his loyal, but none-too-bright friend Manny (Stephen Bauer) and woos the girlfriend (Michelle Pfeiffer) of his "soft" coke-dealing boss (Robert Loggia). However, his ruthlessness and inability to trust anyone--which helped him rise to the top--threaten to become his downfall in the end.

So, what are this movie's strengths? The direction, the eminently quotable screenplay (which has inspired countless rappers and stand-up comedians to this day), and Al Pacino's over-the-top performance quipped with a hilarious attempt at a Cuban accent. There's good reason this film became the cult classic that it is today.

What are the weaknesses? Well, it's THREE HOURS LONG, for one. "Scarface" definitely starts to lose steam during its last hour. Secondly, the music is UNBELIEVEABLY cheesy. The music (and the fashion too) is aggressively, in-your-face 1983. No doubt about it. It's like the composer was aspiring to imitate Frank Stallone, rather than Nino Rota (composer of "The Godfather").

The DVD extras are great, detailing the film's making, its initial reception, and its enormous influence on hip-hop. Noteworthy are the numerous interviews of rappers professing their love of the film, an interview with Oliver Stone who candidly explains how his addiction to cocaine forced him to move to France(!), plus the hilarious censorship placed on this notoriously profanity-laden film when it first got shown on network television (please see the above title).

Twenty years later, "Scarface" has taken its rightful place along the great American gangster films of all time. It may not be as good as "The Godfather", but it's certainly more fun!

The critics mainly got it wrong. This reissue puts it right. Take one great moment in cinema - the setting is Frank's mansion, the time two minutes after 3am about 30 minutes after Frank had had two workers put about five hundred rounds into a nightclub in an attempt to rid the world of Tony Montano (Tony the Mountain aka Mr Pacino)but missed. Tony has just given sidekick Manny (Mr Bauer) the order to give drug "lord" Frank (brilliant Mr Loggia) the what for after Frank sank to his knees and kissed the shoes of Tony pleading for his life, begging for a second chance, crying to be saved, and Manny dutifully puts one into Frank. Tony then turns his attention to bad guy and Chief of Detectives of Narcotics. Tony gives him one in the guts and then lets him have one in the chest. Tony and Manny turn to leave but Manny says "What about Ernie?" Frank's loyal and ucommunicative sidekick who has been watching the evening's events unfold before his eyes, and, let's say, is now facing an uncertain future. A little overweight, in a suit just a little too small, a worker, loyal, Cuban exile, with beads of sweat on his face, which the camera ponders for about five seconds. Then we see Tony's face for a few moments - "Want a job?" he says, knowing that either way, he's got this guy's life. A great moment in cinema. Many good extras too - especially interviews with Mr Stone and Mr Pacino. Very good value.

Since it's release in 1983, Brian De Palma's "Scarface" has become of the definitive cult classics of American movies, it's excesses have so imprinted themselves into popular culture that it's influence can be found in everything from clothing to popular lingo ("say hello to my little friend!") to rap music and rap videos. And yet, this is not a poorly executed movie, this is a brilliantly excessive crime drama filled with the kind of stylish, gritty quality that made films like "The Godfather" and "Goodfellas" equally effective (eventhough "Scarface" probably still stands as the bloodiest, edgiest film of it's kind). The screenplay was written by Oliver Stone before he became a visceral, provocative director and during the period when he was letting go of that notorious vice known as cocaine, he hung around with real Colombian gangsters and there is a unique authenticity to the film in it's violence and scenarios that helps it paint a portrait of the darker side of the American dream. Al Pacino is merciless and unforgettable as Tony Montana, a Cuban immigrant arriving on Miami's shores and ready to make big bucks and finds his answer with the world of drug trafficking. Watching the film, it is no wonder why Tony Montana has become such a potent figure in popular movie culture, he is a great character, so alluring in his perversity that the word "villain" seems too cartoonish for him. His accent is catchy and his clothes cool and colorful (Stone recently commented on how Montana's style in dress and jewelry can be seen reflected in African-American culture). The film is famous for it's scenes of violence, including a victim chained to a shower and killed with a chainsaw. Director Brian DePalma, not really known for excess gloriously lavishes in it here and films his movie with style and gusto, "Scarface" is unique because it feels like it was made with real respect for the material. Consider that you have one of Hollywood's future greatest directors writing the script and one of American film's most stylish talents directing and on top of that, an iconic actor in the lead role. Even the moody main theme is composed by none other than Giorgio Moroder. The ending is especially deliciously bloody, as if a normal shoot-out is for sissies. "Scarface" remains a potent movie because it has themes we can all relate to, we all want wealth, power and at least one beautiful woman, "Scarface" asks the question of what extremes would one go to to achieve wealth, and is it worth anything when it is dirty money?

The classic to end all classics: Brian De Palma's 1983 remake of the 1932 Howard Hawks classic "Scarface". This movie is loud, brash, over-the-top, relentlessly macho, and filled to the brim with testosterone--and no fewer than 206 F-words--courtesy of De Palma's direction, Oliver Stone's screenplay and Al Pacino's ferocious performance as the exiled Cuban yayo dealer Tony Montana.

The "Scarface" story is well known: the rags-to-riches, exhilirating highs and mind-numbing lows of Tony Montana--a Cuban criminal who is exiled along with 25,000 others by Fidel Castro in 1980. Tony begins as yet another poverty-stricken refugee in a Miami camp (albeit an extraordinarily ambitious one). Soon, though, through a little luck and plenty of sheer ruthlessness he rises astronomically to the top of slimy, bloody Miami cocaine heap in a very short time with the help of his loyal, but none-too-bright friend Manny (Stephen Bauer) and woos the girlfriend (Michelle Pfeiffer) of his "soft" coke-dealing boss (Robert Loggia). However, his ruthlessness and inability to trust anyone--which helped him rise to the top--threaten to become his downfall in the end.

So, what are this movie's strengths? The direction, the eminently quotable screenplay (which has inspired countless rappers and stand-up comedians to this day), and Al Pacino's over-the-top performance quipped with a hilarious attempt at a Cuban accent. There's good reason this film became the cult classic that it is today.

What are the weaknesses? Well, it's THREE HOURS LONG, for one. "Scarface" definitely starts to lose steam during its last hour. Secondly, the music is UNBELIEVEABLY cheesy. The music (and the fashion too) is aggressively, in-your-face 1983. No doubt about it. It's like the composer was aspiring to imitate Frank Stallone, rather than Nino Rota (composer of "The Godfather").

The DVD extras are great, detailing the film's making, its initial reception, and its enormous influence on hip-hop. Noteworthy are the numerous interviews of rappers professing their love of the film, an interview with Oliver Stone who candidly explains how his addiction to cocaine forced him to move to France(!), plus the hilarious censorship placed on this notoriously profanity-laden film when it first got shown on network television (please see the above title).

Twenty years later, "Scarface" has taken its rightful place along the great American gangster films of all time. It may not be as good as "The Godfather", but it's certainly more fun!