Complete list of the films Guillermo del Toro has recommended on twitter. Click the 'Read notes' button to see his…
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…
Film #9 of My Definitive Ranking of Michael Mann
Cause she's got a great ass!
The 1990's were arguably the golden era for scenery-chewing actors. Unsubtle and bold, it was a trend that is easily reflected in the best actor wins from that decade. This is what you'd expect from Heat, a legendary pairing of two of history's most intense and strong actors in Robert De Niro and Al Pacino. You'd expect the film to feature many more collisions between the two powerhouses, but rather than exploit that talent, Mann instead vies for parallelism between the two. Further, De Niro's performance is relatively subdued compared to his earlier work. Yes, there are big moments to be seen, but for the…
”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…
So many ideas at play here; a true city film, of and about people trying to live their separate lives in spaces too big for any individual to make it on their own. It's just a very sad film because our two heroes are lonely cowboys dedicated more to their work than the people around them, one could say that they are defined by their work - who are they without their function in society? The few glimpses of real connections are short lived besides maybe that final shot which can carry on for eternity before a last cut to black. I still take this sort of epic myth-making over Mann's later, more abstract work (sorry guys, Blackhat is pretty great but I prefer this).
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…
Really and truly action-packed, with an embarrassment of riches for a cast - including the Lennon-McCartney of New Hollywood Method actors, De Niro and Pacino. Good shit, in other words.
The first time I saw this movie, I feel I didn't get it. It's always been heavily marketed as The Big Pacino & DeNiro Showdown Event and this overshadowed the movie for me and sold it short. The long runtime and many subplots may also have seemed like detractors.
At it's heart, this movie is really something much bigger and multi-layered than that. This is RESERVOIR DOGS with a bigger budget and BEN-HUR-level scope. It's the type of movie Tarantino might have made if he had continued making character-driven crime dramas instead of going in a farcical direction. It may be the single most epic crime film of the modern era. On repeat viewings, I find this to be a film…
JOHNNY - Andrew's been suggesting that we watch Heat for a long time, and for good reason. Pachino and De Niro's character conflict is a fireworks show on the screen... Unfortunately, for me, I spent way too long sitting on a hill in the dark waiting for the show to start. The first act contains three distinct parallel plot lines, but they don't intersect until an hour in. This means there was absolutely no suspense or tension for me, and Pachino's intermittent, jarring shouting wasn't enough to keep me interested. I was bored out of my mind until the coffee scene and De Niro's crew finally coming together to botch a job and kick off the second act. From there,…
MANN O MANN
Mann, You put DeNiro on one side and Pacino on the other, I don't care if they're in a pie eating contest, I'm gonna watch that over and over. Not to take anything away from Michael Mann and his beautiful work, or even Val Kilmer who may have even been the most likeable and relatable character in this, but this wouldn't be IT without the DeNiro vs Pacino finale. 3rd time I have watched this in the past 2 years or so, and It's still as great as the first time I've seen it.
This review may contain spoilers. I can handle the truth.
"I don't even know what I'm doing anymore. I know life is short, whatever time you get is luck. You want to walk? You walk right now. Or on your own... on your own you choose to come with me. And all I know is... all I know is there's no point in me going anywhere anymore if it's going to be alone... without you."
Michael Mann is probably the most knowledgeable director when it comes to crime. Most of his body of work revolves around the crime…
Never gets old.
De lo mejorcito del género. Una película de acción de manual que, además, también cuida sus personajes.
Movies that have such a powerful/memorable/weird/insane/awesome/surprising last scene (or shot) that made you say "THAT ENDING!!!!!" or variations
A list of films I haven't seen........
I should be ashamed of myself.