All the films from all the editions, including those subsequently removed, presently totalling 1167. 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…
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…
Arguably Michael Mann's best film. An all action crime thriller with some of the best shoot-out's in recent cinema history,this bristles with an edgy script and stylised violence the Michael Mann way.
Robert De Niro is the career criminal and expert professional thief who leads a crack team of bank and armoured car robbers. On his trail is obsessive cop Pacino who appreciates the skill and tenacity of De Niro's crew. A grudging admiration develops as the criminals and the LAPD attempt to outsmart each other as a cat and mouse game of deception develops.
Tom Sizemore, a brilliant Val Kilmer and Danny Trejo round out De Niro's team. From the opening robbery to the almost operatic bank heist this…
Heat is a fine film with some interesting set pieces and a trio of top billed actors who, despite their impressive resumes, spend most of their screen time yelling at shit. Sadly, none of them would make even a remotely good film after this.
Michael Mann's Heat leans on a pretty simple plot about a cop trying to catch a thief, but through it, takes a careful look at its characters. Hanna and McCauley, respectively interpreted by a solid dream-duo in Pacino and DeNiro, are two men whose lives revolve around their jobs but who are set on different sides of the law. The film looks good and depicts LA nicely with atmospheric lighting, sometimes reaching tones of blue that fit really well, but it's at its best during the short interactions between its protagonists. However, the rest also works well, even if it drags on a bit too long, depicting a narrative in which every decision has its consequences and in which ultimately the end comes around as a result of characters not leaving while they're ahead. Not as if the outcome is a key point, it is more an inevitable clash that had been brewing since the very start.
Not 100% sure I bought the "mutual respect between criminal and cop" through line, and I felt as though there were a number of plot elements that went underused or underdeveloped (e.g. Dennis Haysbert) and somewhat unresolved (e.g. Natalie Portman).
However, there's no denying this is beautiful and assured filmmaking filled with tension, suspense, and amazingly constructed and immersive set pieces that wholly absorb the viewer.
The opening moments of this film offer another Mann motif that has become apparent to me in viewing several of his films: the link between criminality and celebrity. After a couple of beautiful shots that set up the arrival of a Los Angeles subway train, we begin to see people getting off the train. They are the kind of people one sees every day in a large metropolis. Anonymous. Nondescript. Normal. And then the camera closes in on one man as he steps off the train: Robert De Niro. He moves among the other people unnoticed, but clearly we know he's different. He's a movie star! One of the biggest movie stars of all time! Mann would later pull a…
Probably the best heist movie I've ever seen, and quickly becoming one of my favourite movies. The rivalry between Deniro and Pacino is enthralling to watch, and Michael Mann's direction is impeccable. The script was perhaps without flaw, and kept me interested for the entire two and a half hour runtime. It also contains possibly the best shootout in movie history. Worth your time.
'I'm alone, I'm not lonely'
Heat is the only good movie ever made. Everything else is just fake Heat.
I actually have a fair amount of notes on this, but I already feel like I wasted enough time watching it, so I'm gonna do a quick(er) version, and mainly just to remind myself the next time I think I like this movie and might revisit it. Which is basically what happened this time. One problem is that I always think of this in comparison to LE CERCLE ROUGE, which I love, and forget the part where it's vastly less interesting to me. In fact, despite the number of big set-pieces (that are admittedly impressive while watching them for the most part, though the shootout always underwhelms me), none of them stick in my head at all. The only two…
I started laughing extremely hard at the scene where Al Pacino's daughter tries to kill herself in the tub and I really don't know why but I have a sneaking suspicion that it had something to do with the last 2 and a half hours of my life