User Reviews

Right well I can say this is one of my favourite gangster films ever, and I truly regard it almost as highly as good fellas or the godfather.

This is simply because of the way the story catches you. Pacino delivers an excellent performance (do you really expect any less from him?) as the main guy Carlito who just wants out of the whole gangster game. By his side is the almost unrecognisable Sean Penn. An afro wearing cocaine addict who just seems determined to lure Carlito back into the kind of world he is trying to leave.

This film is easy to enjoy with a great story and a great cast. And if you look carefully enough you can see a young Viggo Mortensen (Aragorn from lord of the rings in case you don't know) as a crippled low life. Made me chuckle.

Anyways, i give this movie 10/10

Great movie..and I can see why it is underrated...possibly due to obvious comparisons to Scarface (Brian De Palma, Martin Bregman, Al Pacino team), which was much more brutal in its approach.

Al Pacino as Carlito, awesome as he is, is still much softer compared to the sledgehammer Tony Montana. And then there is some romance mixed in with the story of a gangster trying to reform himself.

I didn't like the romantic scenes myself...thought they interrupted the flow of the story...hence I gave it a 9 instead of a 10! There is also some clichéd dialogue. I happen to be a big Pacino fan and so I am being a little bit (though not entirely) biased and am sidelining all these things. If you excuse these small potatoes, this one is a great flick from start to finish, very entertaining, with some fantastic performances from the supporting cast, e.g. Sean Penn. Special mention, also, of Viggo Mortensen who comes in for a short role, but plays the part wonderfully.

As for Al Pacino in lead role, he makes sure he steals the show, as usual. Brilliant!

There was a time when I really wasn't into movies very much. I happened to be flipping channels on my TV one night when I came across "Carlito's Way". Immediately, I was drawn into the film. By the time the credits rolled by, I knew I had just witnessed the greatest film I had ever seen.

What makes "Carlito's Way" such a great film is the fact that even though you know what is going to happen at the end, the movie makes you want to know how this character, Carlito Brigante, ends up where he does. And what a ride it is.

Al Pacino is simply astonishing as Carlito Brigante, a reformed criminal who wants nothing more than to leave his old life behind and start anew. Sean Penn proves once again that he is one of the most effective actors working today in a role that not only sees him keeping pace with Pacino, but should have netted him a Best Supporting Actor Oscar. John Leguizamo and Viggo Mortensen also deliver solid performances.

"Carlito's Way" is filled with scene after incredible scene, and line after incredible line; all of which lead up to one of the greatest finales in motion picture history. If you haven't seen it yet, run out and rent it immediately. This is the film that turned me into a movie lover. Sure, I have seen better films since then (not many, mind you), but "Carlito's Way" will forever remain my all time favourite.

Al Pacino, Sean Penn, and Penelope Ann Miller create an artistic and romantic twist to the gangster genre in Carlito's way, story of a convicted gangster by the name of Carlito Brigante, known to his ex-lover as Charlie, who manages to get his way out of jail thanks to crooked drug-addicted lawyer David Kleinfield. After his release, he's convinced himself that he's never going back to his life of crime, but before he knows it, he's inevitably being pulled back thanks to his corrupt friends and family.

While Scareface centered around the action and grittiness of the gangster life more then anything else, Carlito's Way tends to lean to the romantic side, giving the film an artsy twist. For example, in one scene there is a close up shot of a revolver, the chamber slowly moving to an empty slot. There is another famous scene with Carlito inside of a dark bathroom, his back against a wall with a pistol in hand. The way the camera is placed, the way Carlito is standing, and the way the lighting reflects off of the wall and his leather jacket are all taken in to account by De Palma. To make a long story short, Carlito's Way is very beautiful, and this is all thanks to De Palma. He directs the movie very well, you can tell that he put some true dedication in to this film.

Needless to say, the acting is incredible, no matter what you might be hearing. Al Pacino is as always great, and Penelope Ann Miller is as well. But most of the time you'll find yourself deeper inside Sean Penn's character then Pacino's or anyone else's. He's steals nearly every scene he's in, if not then he steals all of them. He's almost too convincing.

The scores are very, very strong and add on to the artistic feel to the movie. Not only do they add on to that, but it adds to the tension, the romance, and the tears as well.

To sum it all up, Carlito's Way is the best gangster film ever made. I love it more and more every time I think about it.

*****/*****

Riveting.

Pacino and DePalma team up once again and the result is once again triumphant. "Carlito's Way" is an emotional and captivating story, depicting the life of former trug kingpin Carlito Brigante (Pacino). Brigante's intention is to go straight, clean up his act, and make money managing a sleazy nightclub. David Koepp's screenplay has the depth it needs in examining the intense struggle an ex-druglord must endure when trying to escape his violent past. Stephen Burum's nearly flawless camerawork and DePalma's flamboyant and operatic direction are a visual splendor that complements the emotional story. This film is a highly underrated work of art that needs to be appreciated. Great supporting performances from Sean Penn and Penelope Ann Miller should not go unmentioned.

"Scarface" was a great operatic film rooted in Greek tragedy, primarily the downfall of its protagonist related to his own hubris and pride. Its over-the-top theatrics and scenery-chewing acting complemented the absurdist tone of the film; some carping critics complained it was "too violent," but it was silly violence...and it worked.

"Carlito's Way" is considered by many to be a companion piece of sorts to "Scarface" - but in its own ways it is vastly different. As "GoodFellas" differed a great deal from "Casino" in its narrative methods, "Carlito's Way" isn't as broad and theatrical as "Scarface." Of course, it's still a DePalma film, and that means we get some beautiful set pieces - but for the most part DePalma avoids his excessive visuals and instead opts for a balanced mixture of both storyline and directorial flair. It is not a sequel to "Scarface" - it is an expansion, and it seems entirely apt that its narrative is more mature, considering that Carlito Brigante (the main character) is wiser than Tony Montana from "Scarface." Carlito is a Puerto Rican ex-con who gets out of a thirty-year jail sentence based on a technicality after serving a mere five years of sentence. Faced with a new life and fresh horizons, he decides to heed the lessons he learned in jail and embark on a new and honest lifestyle.

"Scarface" was Greek tragedy insofar as Tony Montana was doomed to a downfall based on his own egotism and stubbornness. Like Oedipus in Sophocles' classic story, Montana was too bull-headed to take the advice of his wife and friends and was entirely responsible for his own emotional (and, in "Scarface's" case, physical) demise.

"Carlito's Way" is the flip side of the coin. It's still Greek tragedy, but it offers a new perspective. This time, the protagonist tries to change his fate, but his life is doomed to its inevitable conclusion. Carlito tries to change his ways, but - to paraphrase a character from another film - there is only one guarantee...Carlito Brigante will never see heaven. That's the fundamental truth of this movie, and DePalma's less showy camera-work, and the more mature characterizations by the actors, and the believable script, ensure that "Carlito's Way" is an entirely human experience - far more so than "Scarface." (Which is still a great film based on its own goals.)

Carlito's Way is an extrememely underated Al Pacino movie. This film is probubly the best crime story ive seen, next to Goodfellas(1990), Pacino gives another superb performance as well as the rest of the cast. The story in Carlito's Way is extremely compelling and can be very sad at times. Unlike Pacino's similar film Scarface(1983), Carlito's Way is not just a blood bath without much of a story. I dont know why this film fizzled at the box office and failed to recieve any academy award nominations because it sure deserved to. 9 out of 10.

Al Pacino plays Carlito Brigante, an ex-con who gets released from jail in 1970's New York City. He hopes to live an honest life, but his past unfortunately won't allow it. When he resists, things then get very ugly for everyone (to say the least).

Pacino and Sean Penn (as his cocaine-addicted lawyer) are in their usual top-notch form, and Penelope Ann Miller adds an interesting spin as Carlito's legitimately living girlfriend trying to help him lead a straight life. While "Carlito's Way" may contain many of the things that one anticipates in a movie about criminal life, it always fulfills our expectations of what an A-list movie should be. Definitely one of Brian DePalma's best.

I was thoroughly impressed with Carlito's Way. So far it is my favourite Brian De Palma film alongside Carrie and The Untouchables. De Palma's direction itself is terrific, while some of the set pieces such as the pool fight, the 15-minute subway chase and the shenanigans on the train-station escalator are among the best in any De Palma film.

The cinematography is excellent, the lighting is used in an interesting way and the scenery and locations are striking. In short, the film looks good. The soundtrack drives the film very well too, the script is smart and funny and the story is ceaselessly compelling. The pace is spot on, and the acting is very good. Al Pacino gives a suitably restrained performance which was a refreshing change from his excessive performance in Scarface, while the supporting cast have plenty of time to enjoy themselves.

In conclusion, a fine film. 10/10 Bethany Cox

What can I say about such a movie? Simply brilliant. I make a point of watching this movie each year and every time I watch it I simply fall in love with it even more. The direction is brilliant as is Pacino's superb on-time acting. Al deserves an Oscar for this flick. As human beings, we love story telling. It's in out nature, and this story is excellent. As mentioned before in a previous review, Carlito's way is Scarface with feeling. Simply involving. I would dare say it does leave you on the edge of your chair with great anticipation, probably due to Pacino's on screen presence and experienced acting mannerisms. Penn, once again is brilliant and shines through as the high-classed, cocaine addicted Kleinfeld. If you have not seen this movie, do yourself a favour. Rent it out, dim the lights, snuggle up tight with your loved one and enjoy one of the greatest movies of all time. 9 out of 10.

This movie was great. Al Pacino delivers another brilliant performance as Carlito Brigante, the former drug dealer wanting to go straight. So much suspense in this movie you can't touch that remote. Great plot, acting, with an awesome plot twist at the end. One thing I would have changed is not having Carlito getting shot in the beginning. Well, thats my two bits on that movie. Hope you enjoy it!

Wow. It is excellent film. Al Pacino has played the best role. Even in film the Godfather, it was not so is magnificent! The plot on a sight is simple enough, but in it its surprising appeal. To come off this film it is impossible not for a minute. Certainly important role in this masterpiece it has gone right Sean Penn, and it is very good, that for that moment it required money! I shall note also, that the main female role obviously concedes to the main things man's, but not because it plays badly. It plays well, but Al Pacino and Sean Penn are simply magnificent. The ending is good, when all seems, that to the protagonist удалосб, and we are waited with the USUAL "good" ending, but there is no also this moment very sentimental. As a result - look this film, differently you will lose much. It is better, than The Dark Knight. Oops

P.S. I Am sorry for my English

The tragedy of Al Pacino's character Carlo Brigante is that after his shortened stretch in the joint he realizes there is a life out there beyond his gangster world and the mean streets of East Harlem. But Pacino only finds that out way too late. And like that other iconic Pacino character Michael Corleone he gets sucked right back in. In retrospect Pacino should have had a ticket for Florida waiting for him the New York minute he got out of prison.

This would be a film totally dominated by Al Pacino had it not also been for the incredible performance of Sean Penn. If in fact Penn took the role only for the bread he certainly gave the movie-going public its money's worth when they paid to see Carlito's Way. I'm surprised that he was not given Oscar consideration.

When a lot of money comes to Pacino and I won't reveal how, he buys into a nightclub with the intention of earning just enough money to set himself up in business in Florida. But in his way Pacino is a man of honor. He does owe his lawyer Penn big time. Penn in fact found a loop hole as good lawyers do and got Pacino sprung from a long rap. So when Penn asks for a favor, Pacino has to oblige.

Penn is fascinated by the life the criminals he defends lead. The easy access to money and power and women have turned him into a pleasure maddened hedonist. Some other criminals he's been the attorney for Penn has not behaved honorably to put it mildly. He asks Pacino to help him cover up that fact though Pacino does not realize it at first. It's part of the undoing of both of them. The other part is the dismissive way he treats an up and coming gangster John Leguizamo. Think of Gregory Peck and how he treats Skip Homeier. in The Gunfighter.

Penelope Ann Miller is a young dancer who is fascinated by Carlo Brigante and is drawn to him. For the audience she embodies us and our fascination. For Pacino she represents the good life he aspires to.

In character development Carlo Brigante most resembles another of Pacino's iconic parts, that of Tony Montana. But classic film fans will recognize a strong resemblance to one of Humphrey Bogart's gangster roles in The Big Shot.

If it were not for what Sean Penn gives us in Carlito's Way this would be strictly a personal Pacino work. Their scenes together in Carlito's Way are unforgettable.

What an underrated yet truly great film! The Brian De Palma-Martin Bregman-Al Pacino association sparks obvious comparisons to 1983's Scarface, their first collaboration - however 1993's CARLITO'S WAY is the richer film in so many important ways. It has so much subtext, emotion, delves far deeper into the mind and even the soul of its main character with the result that Carlito Brigante becomes someone you root for and care about - which was not necessarily true about Tony Montana, despite his gory end in "Scarface"...

The name "Brigante" makes one who speaks French immediately think of "brigand" - a bandit from the gutter right there. The irony here is that it is the name of the reformed criminal and very much worthy human being that we wind up 100% behind in his hopeless quest for a brand new life... a future... and el paraiso.

The romantic scenes were an oasis of bliss amidst the grisly world and tangled web that was weaving itself around Carlito as the movie unfolded (thanks to Carlito's crooked counselor but also, quite ironically too, thanks to Carlito's own willingness to reform and "be good"...) Verily, the romance with Gail (what a luminous -what else- performance by Penelope Ann Miller) is what humanizes this film. Whereas Scarface was soulless almost, cold and all about the underworld, this film has a soul and this romance is it. She is the angel who can lead the way to the dream of El Paraiso for Carlito - the sharpest contrast there could be; he dresses in black and she is blonde, with a porcelain complexion and ethereal almost! The problem is that she is not the only ethereal presence in the film, and the other one is a ghastly one that haunts him and will never go away until it destroys him. That ghost finds an eerie embodiment in "Benny Blanco" (another -of many reasons- to hate John Leguizamo; this role right here!) and Carlito will pay the price for sparing someone that could come back to haunt and hurt him... This unfortunate bit is my lone gripe against this masterpiece; but a happy ending would have cheapened this ode to the human frailty, probably...

For, indeed, Carlito's Way has a message - and that message is that, no matter what we do, we cannot escape what we are - "our way"- and we are destined to follow the course of that until the end. No matter what our intentions are.

The supporting cast is phenomenal here, Penelope Ann Miller and Sean Penn especially. Special mentions go to Luis Guzman and even one Viggo Mortensen, who is far from his Aragorn form here - which only proves that he has some range... He is no Pacino, but then again few are... or ever will be.

Think of it: Al Pacino has played it all; here, he is the fallen one seeking redemption. And achieving it, though not in the happy ending formulaic way. This same splendid thespian has played the same type of role before - and none were quite alike! Each role has his unique feel and proper substance. Pacino even played the fallen angel who will never seek redemption and he was MORE than believable in that role as well! Truly, he is one of the GREAT ONES. And Penelope Ann Miller holds her own opposite this great thespian. Unlike what many have said, she was NOT miscast here. AT ALL. She hits every note she has to hit, in a truly luminous performance. I would say that she has the same attributes too; every role she undertakes, she gives it a new twist, even if only through some small, almost imperceptible nuances and nothing else, making it all, in the end, new and fresh. One has only to compare all of her previous roles - Gail is unique. And beautiful - not just to Carlito either. That old Joe Cocker song never found a better subject to "give it life" than this character right here.

This film does leave us with a sad ending though - a lyrical one but one we were hoping not to see. Gail's fears and words come true in the end - and it is bitter irony to realize that we could have had the "happy ending" here only if Carlito had kept his "way" like it used to be - ruthless all the while through.

What makes conventions apart (not essential, but always there, like mildew in a shower) of the studio system of movies, as well as in the industry year in and year out, is that they set up the basic track lines for the viewer, to which then he or she can see if the re-treaded storyline will be more impressive than the last movie to take a convention to use. Brian De Palma makes one of his best (and under-rated) films by letting the viewer be as self-aware of the on-coming chiches and pit-falls of the drama the story intones, just by the narration. The aged, contemplative voice of Carlito Brigante (Al Pacino) that chimes in more often than not, is as essential to the way the story unfolds as Henry Hill's was to GoodFellas- this guys been on the inside, he knows the ropes, he knows the stakes, he knows the nature of the beast that goes with the people he associates with, and now that he's out of prison, he doesn't want it anymore. Un-like a lesser film, we start to believe his intentions and reasonings.

Carlito's just been released, thanks in part to his counselor David Kleinfeld (Sean Penn), five years gone in a thirty year sentence, and when he returns to the street many look at him as if he's changed hearing that he's retired. Carlito just wants to get some money together, open a car dealership of sorts with a friend in the Bahamas, and works in a nightclub right smack dab in the heart of the coked up late 70's. As Carlito's tale unfolds, so does Kleinfeld's, as an inmate who's a client of his makes a demand that he can't turn down, which in turn brings a perpetually reluctant Carlito along with him.

Another wise decision on De Palma's part was the casting: Pacino's screen presence is sometimes enough to be intimidating, but his performance as Carlito is the part of the heart of the movie (the other part is with Penelope Ann Miller as his estranged girlfriend), compelling, tough, and intelligent from years of dope dealing and soaking up the gang-land atmosphere around him. Personally, I would put this over Tony Montana any day, if only because the accent rings truer as do his emotions. Then there's Sean Penn as Kleinfeld, a scheming, vain little man who starts off seemingly as legitimate as a lawyer of criminals, but as we soon learn, he has slipped into a world that he has no place to belong in. When I first saw little sections of this movie on TV, previous to recently watching it all the way through, I really didn't know who it was playing Kleinfeld, with his balding, curly hair and nervy, cranked voice appearing like it was Sean Penn, only as Woody Allen if he were ever an attorney. However, when the viewer looks into his eyes, both terrified and ravenous, one can understand the pathway to excess that most conventional crime movies take for granted.

Including supporting work by Penelope Ann Miller and John Leguizamo as the convincing critter Benny from the Bronx, and magnificent set-pieces that confirm De Palma's worth as a director of thrillers as well as dramas, this is an example of Hollywood movie-making that is waiting to be discovered over and over again, as proof of the value that can come in re-fashioning a genre piece.

Whether DiPalma likes it or not, the audience is entitled to think of this as the B-movie companion piece to "Scarface", since DiPalma is mapping the same terrain with assist from "Scarface" star Pacino once again playing an Hispanic mobster in the late 1970s. However, all the play-it-to-the-max ballsiness of the older film has been lost. And that the Pacino character here is a reformed mobster, much older and mellower than Scarface could ever hope to become, only excuses this in part - specifically, the sappy romanticism that finds its focus on the relationship between Carlito and Gail - which would be wholly unbelievable if this clearly weren't a B-movie to begin with, with all the plot-loops, stereotypes, "message" and daffy sentimentalism that implies.

Still, even granting all this, there's a lot wrong here; That the Italians that show up at Carlito's club at the end all have names of the Family bosses of New York may have seemed witty when written, but unfortunately serious mob-watchers - and mob-movie watchers - may feel at first confused and then disappointed - the film seems to be playing for realism here, but it's only a joke after-all. Sean Penn starts the film at top form, but somewhere along the line decides it's not worth the effort, and he's almost right. Pacino himself seems to be running out of energy - his Spanish accent in "Scarface" was overdone, but was consistent with the character; here, he wanders into southern drawl, general Manhattanese, and 'Donnie Brasco' 'wop' (no offense, you know what I mean), trying to find some focus to his character that will explain his pulling punches while leaving him an edge. But he doesn't make it; Carlito feels like the wimp others think he's become. And when he needs his smarts most, they let him down - not just his smarts, but his actor, his director and his writer. Finally one has to remark the late '70s kitsch filling the background here. We saw this kitsch before, in "Scarface", where it played an important role in defining the emptiness of the culture Montana so desperately wants to dominate; here, it just floats around in the background, largely unfinished (those Afros! not every brother wore them in those days!), taking up space.

But the real problem here is that a B-movie "Scarface" companion piece ought to be a distillation of the action episodes with some swift dialog to hold it together. This film is WAY too long and drawn-out. DiPalma used his slower moments in "Scarface" to give us rich set-pieces of humor and irony, like the cunnilingus-gesture pick-up scene, or the wildly gaudy room-sized bubble-bath scene. Here, the slow moments are filled with, well - talk; and if the talk were interesting, these would be bearable; but it's not, so they aren't.

It's a well-made and watchable crime-story, but it not only pretends to more, it could have been more, much more; so it doesn't even get "B" for effort.

Carlito's Way (1993), is a brilliant cinematic work. Pacino's performance as Carlito Berganzi displays the duplicity and subsequent torment between his reformed spirit, and the endless seduction of the street, embodied more specifically as his reputation,legacy,those who know him, of him, and those whom he allows in his innermost circle. Sean Penn is phenomenal as the lawyer representing Carlito, his metamorphosis into character is testament to his depth of talent. Penelope Ann Miller, as the long-suffering love of Carlito's life is dramatically and visually enchanting. The casting is perfect. The supporting cast superb, perfectly augmenting the film. The script is alive with literary devices, the story line(s), characters, dialogue, themes, sub-texts,etc., make this an almost endlessly watchable film. Of this genre, Its all there, action, suspense, violence, confrontations, chases, prerequisite street and wise guy character profiling with the right dialogue to make it work. Directed, executed and rendered a cinema great. Carlito's Way is atypical of the gangster genre, although it adheres to certain basics. It is also a love story, not boy meets girl, ad nauseum, but real, destined soul mates, wrenched apart and thrown back together five years later by some abberation of fate. As one experiences spiritual,moral disintegration, the other the anti-thesis. Carlito's Way is a mix of genre's veiled with diligent artistic discretion. I even see certain thematic similarities to Casablanca. Watching Carlito's Way I had the feeling that De Palma wanted to resurrect and redeem poor old Tony Montana, Scarface (1983). Perhaps it was self-redemption, or a means to a great film with a second view or maybe the fun of bringing back that great ensemble of talent, based on a similar theme. A sequel of sorts, not to diminish either film in anyway. Released exactly ten years after Scarface, the comparisons are more than obvious. Ten years later, De Palma and Pacino. Oliver Stone missing, but another great script. In Carlito's Way, Pacino again plays a Hispanic drug lord. Now Puerto Rican in New York City, before Cuban in Miami. Now drug lord repentant, whereas in Scarface, drug lord vehemently unrepentant and devoid of remorse, from beginning to surrealistic end. Instead of classic gangster genre prerequisites employed in Scarface, such as, coming from the bottom, rising in status, trust and favour in the eyes of the mob boss, eventually killing him, and gaining his empire his woman(Michelle Pfeiffer). Love? Its not in the equation- Carlito only wants to unite with his TRUE LOVE. To redeem himself in her eyes, after causing her the heartbreak of losing him forever.(Which it would have been, if not for the quirk of intervention by Carlito's coke addicted, sociopathic lawyer). Carlito seeks solely to prove to his love that he is truly changed, honest, sincere, and even has a plan whereupon they can live happily ever after. Carlito and his girl are likeable. Upon viewing this film one is compelled to empathy, wanting them to escape insurmountable odds (the almost onmniprescent serpent-like "street"), finding and deserving of happiness as long as they may live. However, it is though The Angel of Death has been hidden somewhere in every frame of De Palma's film, casting a shadow, waiting patiently to put his hand upon...

Even the ancillary characters from Scarface are brought back in legions for Carlito's Way. Carlito's Way is Scarface with "feelings". Which is another similarity in the two films, "feelings" is the Achille's Heel of both Carlito Berganzi and Tony Montana. I also believe both films were vastly underrated and overlooked by the mainstream media, but upon populist vote, they are both widely esteemed as "classic". I'd give Carlito's Way (1993) nine out of ten. If I saw a ten, it would be a life changing event.

Maybe with Brian De Palma directing Al Pacino once again, my expectations were too high. Carlito's Way is not a bad film. It's filled with many memorable scenes and characters, but ultimately it just can't pull them all together.

Al Pacino plays Carlito Brigante. He's a mid-level Puerto Rican crime lord who has just been released from jail after serving only five years of a thirty-year sentence. Apparently a technicality and Carlito's brilliantly slimy lawyer (Sean Penn) have set him free early. Carlito sets out to raise $75,000 and move to Jamaica so he can buy his way into the car rental business. Yes, he plans on going legit. His slimy lawyer basically laughs in his face when he hears Carlito's plan. How can a man with such a violent past ever go legit, asks the conventional wisdom on the street. Carlito isn't out of jail more than a day or two before he's already involved in a violent shoot out and running a seedy nightclub for the money he needs. He tries his hardest, but it's no use. Not only does he have trouble avoiding his violent tendencies, but he's surrounded by thugs and low-life's (his lawyer in particular) that constantly bring him down. He hooks up with an old flame and asks her to come with him when he leaves the city. Of course she says yes, but with everyone after Carlito by the end of the film, will they make it out of New York alive? Unfortunately, that question is answered in the first five minutes of this film. Why the hell did they do this? Well, sometimes that technique works. Casino and Fight Club come to mind. But here.... I don't like it. That conclusion would have been a hell of a lot more convincing had we not seen it happen so soon. The film plays itself out fairly well to get us back to what we've already seen, but I just wish the film could have started out in the courtroom.

Pacino is good, but not great. His accent needed a little work, and it comes and goes. Of course, he is talented enough to make any performance more than watchable. I'll lay it right on the line... Sean Penn walks away with this film. His scumbag lawyer character is one of the most unsavory creeps I've seen in a film in a long time. Penn's character is the embodiment of nearly everything that can be wrong with a person. He seems to revel in his character's sleaziness. Most of supporting actors are also very good. John Leguizamo shows definite promise in one of his earliest roles.

Overall, it just wasn't as good as I'd hoped. The film shoots itself in the foot by showing the ending at the beginning. And also, there are way too many references to other De Palma films in this one. It's like every ten minutes he has to remind you of all the other films he's done.

6 of 10 stars.

The Hound.

I'm shocked to see this film so well-reviewed, but seeing all the thumbs up on this site I do have to acknowledge the good points in "Carlito's Way". It's true that Pacino and Penn are two of the best American film actors ever, and their work in this film, as well as DePalma's effort as Director, does deserve praise.

Latter day fans of the actors, or fans of Scarface, will see something of a reversal for Penn and Pacino - Pacino is simmering and reserved (complicated in a word, like many of Penn's pre- and post- "Fast Times" roles), and Penn is the bombastic psycho, a la Pacino's Tony Montana. And DePalma shows his technical and visual expertise, and deft handling of underlying violence, tension, and suspense, in many of the scenes mentioned in other reviews.

But part of the reason the three principals here merit some applause, is that the script for this film is awful. It is paint-by-numbers without a shred of humor or irony.

Pacino's "Puerto Rican" accent is unbelievably bad, as if he were mocking his own role, or if the text of the script were so bad he felt a need to mangle his own delivery. It's even worse than his Cuban accent in Scarface, without the cartoonish humor. Tony Montana couldn't even speak his few Spanish lines convincingly. Carlito sounds like a Cajun with bad gas, not a Puertorriqueño.

Also, while I agree with other reviewers that Pacino's physical look in this film makes a big contribution (Penn's even more so), I have never met a Puerto Rican who looked as white as Pacino. Rick Aviles is Puerto Rican. John Leguizamo is half Puerto Rican. Pacino? Not remotely.

This flaw is made worse by Pacino's voice over narration - one of my least favorite devices in cinema. The narration is so horribly written, it must have been added after the original cut. On occasion, narration is thus added to a completed film as an afterthought, where the original cut otherwise might seem confusing or incomplete, or to novel adaptations (like this one), to make up for the lack of illuminating backstory or detail. In "Carlito's Way", it's simply unnecessary and annoying. The film would have been shorter and better without it.

I also agree with other reviewers that the very "True" romance between Pacino and Penelope Ann Miller is a departure from other Pacino gangster films, where his character is too unflappable or monomaniacal to be involved in and motivated by any such relationship. And the premise of two lovers who have been tragically separated - and shed some of their narcissism in the process - is compelling. But the pair's actual performances as lovers are childish and irritating. I agree with an earlier review here that the mock rape scene is so ridiculous that it's a chore simply to sit through it.

To sum up, the whole cast and the director are excellent, but the script is garbage. Such a combo worked a lot better in "King of New York", a far less ambitious film, but one that is more watchable than this one because it sticks to its strengths.