“Sea of Love” (1989)
There are many different shades of Al Pacino. The actor can chameleon himself into a varied assortment of personalities, as articulated in this very article, adopting a high assortment of performances both big and bold and tender and downplayed. In its own little way, “Sea of Love” plays as a curious commentary on middle-aged Al Pacino — a proven thespian of great range and phenomenal sensitivity who’s nevertheless searching for what will define him next, and where to take his growing legacy. Harold Becker’s film isn’t one that’ll likely be remembered as Pacino’s defining film; it’s well-constructed, sure, but it’s also fairly procedural in its approach, and its sensibilities are trapped within two different decades — one entering, one exiting. But through Pacino’s thoughtful performance, that standstill is made impactful and resonating. “Sea of Love” was, in some respects, a sea of change for Al Pacino, particularly as he developed into older, more mature roles and characters in his career, going either broader or more melancholy with the performances that would soon follow. That’s seen throughout this film, but it’s also an entertaining, pulpy role too, benefitted nicely by his good buddy charm with John Goodman and smoldering chemistry with Ellen Barkin. “Sea of Change” showed a mid-period Pacino adjusting into the next phase of his career. While that phase half isn’t without its faults, it has passion and conviction to spare. Al Pacino is a performer with a fantastic, endless sense of investment. – WA
“Dick Tracy” (1990)
Playing Big Boy Caprice, a literal cartoon villain, Al Pacino’s bonkers supporting role in Warren Beatty’s bizarre, vibrant passion project “Dick Tracy” is expectedly a big, broad, showy performance. It’s a very, very active role, that’s for sure. The Academy Award winner screams a lot, flails his arms constantly, wears very bright colors and he constantly makes his presence known. He’s more than chewing the scenery; he’s devouring every set piece he can fit into his mouth. It’s absolute lunacy, and that’s not exaggerating in the slightest. Pacino is playing an absolute maniac here, and he’s relishing the opportunity for all it’s worth. But in the midst of all that craziness, Pacino is embodying the exuberant spirit of Beatty’s wild vision. He’s bombastic, yes, and he is very, very, very loud, but he is reflecting the weirdness of the project wholeheartedly. Only a few actors would be so willing to go this positively excessive, and only a slim number of actors can control the madness this skillfully — all while having an absolute blast in the acting process. Al Pacino is a real madman in “Dick Tracy,” and he fits the role beautifully. Only Al Pacino could make it work. – WA
“Glengarry Glen Ross” (1992)
While top-billed on the poster for James Foley’s adaptation of David Mamet’s savage play about the real estate business, Pacino’s Ricky Roma is undoubtedly a supporting player. Amongst a cast that includes Jack Lemmon, Alan Arkin, Ed Harris, and Alec Baldwin, among others, everyone elevates each other’s performances in a way that makes all of them stand out like a true ensemble. However, when we’re introduced to Roma, we get a scene that likely solidified Pacino’s Oscar nomination for Best Supporting Actor (in the same year he won Best Actor for “Scene of a Woman”). “You try to stave off insecurity, but you can’t do it,” Roma starts with while trying to close a deal with James Lingk (Jonathan Pryce). It’s a brilliant juxtaposition to the later scenes of interrogation over the stolen Glengarry leads. While out with a customer, Roma is smooth, relatable, and will make you feel like your best friend while you’re out having a few drinks. At work, it’s a dog-eat-dog world, and while he’ll occasionally throw a bone to the bottom dog, he plans to stay on top. – RO
“Carlito’s Way” (1993)
“Carlito’s Way” often gets a bum rap for being unfairly compared to “Scarface.” Sure, both posters have a similar title font, are directed by Brian De Palma, and star Pacino as an immigrant from a country located in the Caribbean Sea. With “Scarface,” Pacino has to embody the entire broad satire of the film in his character. With “Carlito’s Way,” it’s a more nuanced performance, and the film plays out more like a better version of “The Godfather Part III” than the lurid thrills of “Scarface.” Pacino portrays Carlito with both the explosiveness of Tony Montana, but with the calm benevolentness of Michael Corleone. That push-and-pull anchors “Carlito’s Way” as a fascinating tale of fate and redemption. It’s the kind of movie that begins at the end and backtracks to how we get there, but credit De Palma’s assured filmmaking and Pacino’s performance for making us feel that moment when it comes back around. “I don’t think I can make a better movie than this,” De Palma mentioned in the titular documentary about him. While that may not necessarily be true, it is a strong, mature film for the provocative filmmaker, and having a fearless Pacino to guide us through further solidifies that. – RO
“Heat” (1995)
It’s hard to find words that haven’t already been said about Michael Mann’s crime epic, other than to reiterate that the film has greatly earned every superlative that has been thrown its way. Notable for its grand scope and expertly-staged set pieces, the core of the film comes down to one, single moment: the diner scene. Not only a monumental moment for the first time that Pacino and Robert De Niro shared the screen together, but it muddles the line drawn between “good guys” and “bad guys,” and just depicts Lt. Hanna (Pacino) and Neal McCauley (De Niro) as two people doing their jobs… only that their jobs involve making sure the other doesn’t succeed. It also rights the ship for the rest of the film, and grounds Pacino’s character back down to Earth. It’s a solid performance, but it takes getting through some memorable – for better or ill – bits of hammy line deliveries, like “Quit wasting my motherfucking time!” or “She’s got a great ass! And you’ve got your head… all the way up it!” – RO