All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
A Los Angeles crime saga
Obsessive master thief Neil McCauley leads a top-notch crew on various daring heists throughout Los Angeles while determined detective Vincent Hanna pursues him without rest. Each man recognizes and respects the ability and the dedication of the other even though they are aware their cat-and-mouse game may end in violence.
"Three hours was the wrong running time for this movie," began my negative "review" 18 years ago, just a few months after I launched my site. "It should have run either 90 minutes, or seven hours." That I somehow failed to appreciate the rampant awesomeness on display here boggles the mind; for all his idiocy, though, younger me did have a point, if not yet an available countermodel. Today, Heat looks like a hugely condensed season of first-rate television, with the sprawling narrative and multi-character arcs we now associate with that medium. (See also: Contagion.) Bump it up to 10 or 12 hours on HBO and the material that currently feels thin—Kilmer and Judd's rocky marriage, Portman's depression, Fichtner's…
This remains the quintessential Michael Mann film, an epic summation of his preoccupations and interests. It is a cataclysmic stand-off between worthy adversaries, the driven cop and the master thief, and a riveting portrait of men operating at a rarefied level of proficiency. The unflagging pursuit of career criminal Neil McCauley (Robert DeNiro) and his hard-boiled crew by LAPD detective Vincent Hanna (Al Pacino) as they plot to take down one last score provided the basis for the crime saga of the nineties, a super-charged set-up as potent as it was elemental. The relative simplicity of the plot allows Mann to explore the psyche of these men that seem to simultaneously thrive within and stand apart from the maelstrom their…
”What am I doing? I'm talking to an empty telephone…Cause there is a dead man on the other end of this fuckin' line.”
I heard that quote when I watched Cashback the other night. “I love that fookin film! You should see it on my plasma! Boom boom ratta tatta blam blam!” a character exclaimed. And this gave me the craziest idea… I went out and picked up Heat on Blu-Ray today and decided to watch it for the first time since owning a Blu-Ray player. I had previously only seen it on VHS and DVD…
I poured myself a drink, opened up the window to feel the nice spring air, cranked up my tv, and let the sounds of…
got to see this on a stunning 35mm print at TIFF with michael mann present. 20 years later and it's just as alive and mesmerizing as ever.
apparently it was the first time mann had actually sat through the film in many years but he expressed his undying affection for the ending/final shot, which he described as the most human moment taking place in a space "not built for humans." dude is a fucking cinematic poet.
Heat opens with De Niro's McCauley descending from above wearing an EMT uniform, one of many costumes/false identities he'll don throughout the course of the movie as he quietly blends in with the masses of baseball and barbecue loving "normals.*" At other times he's framed at high vantage points, hovering over the city and recalling in my mind the famous poster art for Feuillade's FANTOMAS. This is the great American crime movie of my lifetime. The roles of cop and robber are expanded to mythic proportions, the movements are operatic (hovering at times somewhere between soap opera and pulp fiction), the action scenes are grounded and thrilling... I think it's pretty much perfect.
As in classic mythology, when gods clash…
Film #57 of Project 90
”Don't let yourself get attached to anything you are not willing to walk out on in 30 seconds flat if you feel the heat around the corner.”
Michael Mann is at his most exciting form here, with Heat he once again tells the story of lonely men who can’t live a regular life, men who are doomed to live a painful life where it is impossible to achieve peace and delight, his heroes aren’t made to enjoy life, they should fight for their salvation till the end and that salvation often costs them dearly. What makes Heat so unique is that here we have two men who are supposed to fight each other and beat…
DON'T WASTE MY MOTHERFUCKING TIME
A crime epic of blurry lights, beleaguered men and weary glances. It's fascinating to watch Mann work his way into the vast scope of this story not through the broad strokes but through the small details, a technique and philosophy that works its way into the DNA of the film, from its visual style to its tangential interest in passing characters and fleeting moments.
In my initial trepidatious relationship with Heat, I was too hung up on minor plot contrivances and outsized, stylized performances to notice the visual poetry and weird pop tragedy that pulsates throughout it. To be honest, Mann's own unique brand of hyperbole still doesn't always match my own tastes, but it's clear that this is a…
Al Pacino. Robert De Niro. Together on screen for the first time. Simply a piece of cinematic history. The story is pretty simple in the usual cat and mouse chase of bad guy and cop, except the parts are played by two of the finest actors of all time. I was 12 years old when Heat came out and even then I knew how important this one scene over a cup of coffee was. Heat, now nearly 20 years old, has definitely stood the test of time and is one of those films that can be looked back on from a spate of films in the mid 90's that can truly be considered classics. Just think, back in 1995 when Heat came out, The Godfather was only 23 years old and Taxi Driver was just 19 years old. Heat is definitely up there with the best of them. Why did they have to do Righteous Kill together?!?
Pacino is at max Pacino here.
D'Angelo is right, though. This should have been a TV series.
This review reportedly contains spoilers. I can handle the truth.
No real emotional connection, but thrilling.
Pacino at his most Pacino. Brilliantly executed, brilliantly acted, and a perfectly satisfying ending.
Hanna looks McCauley dead in the eyes as the chatter of the diner fades to an incomprehensible hum, "My life's a disaster zone. I got a stepdaughter so fucked up because her real father's this large-type asshole. I got a wife, we're passing each other on the down-slope of a marriage - my third - because I spend all my time chasing guys like you around the block. That's my life."
McCauley looks up, his eyes characterized by a resolution matching Hanna's, "A guy told me one time, 'Don't let yourself get attached to anything you are not willing to walk out on in 30 seconds flat if you feel the heat around the corner.' Now, if you're on me and you gotta move when I move, how do you expect to keep a... a marriage?"
Me veo 10 minutos y la quito=salgo solo un rato que mañana madrugo.
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…