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Dick Tracy
4 reviews

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Movie Details

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Directed By
Warren Beatty

Written By:
Jim Cash, Jack Epps Jr.

Warren Beatty, Madonna, Charlie Korsmo, Glenne Headly, Al Pacino, Dustin Hoffman, James Caan, Mandy Patinkin, Paul Sorvino, Charles Durning, Dick Van Dyke, R.G. Armstrong, Catherine O'Hara, Estelle Parsons, Seymour Cassel, Michael J. Pollard, William Forsythe, Kathy Bates, James Tolkan

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Dick Tracy (1990)
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Movie Review by BillyBob
January 18th, 2011


There's no dicking around with Dick.

People have told me, time and again, that MADONNA playing Breathless in DICK TRACY is her absolute best performance to date.

Well, I say "Ho-hum!" - 'Cause if this is the best that MADONNA has to offer us, then, from my point of view, it ain't saying very much.

For one thing, the musical numbers that MADONNA appeared in really, really sucked, big time. And, I couldn't believe it, but whenever MADONNA sang a tune she kept hitting all of these godawful bum-notes, left, right, and center. I ain't kidding.

I thought that it was absolutely hilarious, though, in one scene when MADONNA was singing away to a full-house at The Ritz nightclub and, literally, nobody in the entire audience was paying the least bit of attention to her performance at all. Yeah. That was pretty funny. 'Cause I'd be doing the same thing myself, if I were there in the audience.

You know, I, for one, am certainly thankful that the vacant and one-dimensional MADONNA wasn't given any more screen-time than she was, 'cause otherwise I would've certainly rated DICK TRACY even lower than I did.

As far as the Dick Tracy character went, I thought that WARREN BEATTY was nothing but a big bore. Let's face it, at 53, BEATTY was too old for the part. And, what bugged me was that he seemed to be deliberately underplaying his character to the point that he became just a dull, little "blah!", completely lacking in any dynamics. There were absolutely no memorable "Dick Tracy" moments worth mentioning in this film.

At first I really enjoyed AL PACINO's over-the-top performance as Big Boy, but, as the story was coming to a close, Big Boy's character, for some screwy reason, became this shrill, panicky, little wimp who couldn't even find the balls (as a genuine "bad-guy") to go out in a blaze of villainous glory. And, that truly sucked.

But I certainly must say that I was thrilled to pieces when Big Boy slapped the face of Breathless. Though I don't think he really slapped her hard enough. I mean, a cruel bastard like that lousy prick, Big Boy, should've sent Breathless sailing right across the room with one of his slaps. No doubt about it. What Big Boy gave Breathless were only mere taps, in my opinion. I think that Breathless was definitely cruisin' for a major bruisin' from Big Boy.

As simple as DICK TRACY's story was, I think that the introduction of No-Face into the plot only confused matters, unnecessarily. It got to the point where I couldn't figure out whose frickin' side this moron character was on. And when No-Face's true identity was finally revealed, I thought that was a major disappointment. Although I was quite pleased with what inevitably happened to No-Face in the end.

I also found that the repeated interference of "The Kid" into Dick Tracy's crime-fighting affairs was another major problem that just wouldn't go away. The insidious presence of this little street-brat marred the overall enjoyment-value of this film, time and again.

But, on the other hand -

What I did like about DICK TRACY was all of the attention to detail that was paid to the very slick and stylish 1940s-ish set designs. Everything about these spectacular sets was so amazingly bold, and colorful, and bright. Whoopee! And, yes, the spiffy, vintage automobiles were an excellent addition to the whole ambience of the story, as well.

And, of course, I liked, I liked, I liked (indeed) the super-creepy and grossly-grotesque make-up effects that were achieved for all of the many nasty underworld villains and mobsters, alike. Yeah. These brilliant effects were nothing short of sensational. DICK TRACY was certainly well-worth a view just for this aspect of the film, alone.

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