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…
”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…
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…
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…
If I happen to be in a particularly mean spirited mood the next time I watch The Dark Knight (one of my all time favourites) I may just dock it half a star. I always knew Chris Nolan drew inspiration from Heat (amongst others) but only on this re-watch have I realised just how heavily. Composition, editing and pacing of the action all feel familiar while the street smarts and cool actions of the characters could easily be lifted from film to film. However, the biggest way Heat inspired The Dark Knight is with it's score - Jesus how much did Hans Zimmer rip that off?!?
Heat is a heist thriller with two masterclass actors squaring off. The ultimate cops and robbers movie. Michael Mann has crafted a thriller so intimate and intense I couldn't decide who to root for. Both Pacino and de Niro gave amazing performances. And that street shoot out, one of the greatest ever. An all around great movie.
Extremely entertaining crime thriller with great performances and writing. Plus, it's Pacino and De Niro. How can you go wrong with that?
ahhhm... emmmm... buen día. que pasó?
The glittering distorted out of focus cityscape looks like the 2D playfield in a game of pride, vengeance, love and respect between two broken men.
Every lead actor gives a top notch performance, but even with my affection for Val Kilmer's early work, I can't help but watch a Michael Mann film and be ultimately drawn in by Michael Mann's directing. Everything he makes should be the blueprint for how to focus on every single detail and still make a film that's exciting and creative.. and how fucking cool are his signature over the shoulder angles?
I've struggled to see the poetry in Michael Mann's films thus far - that's not to say I haven't seen it at all, just that it's come as a challenge. My fascination with the aging director I feared was perhaps only skin-deep. The LA nightlife, the florescent lighting, the mechanical gunfights, and the professional men. But I'm not the only one fascinated with Mann's work-- no, no. Whispers about the relationships between physical and digital or mental spaces, information in physical form, abstract noise, it flooded my small, insignificant brain until I forced myself to love MIAMI VICE (it rules doe). But this is one of the first times I actually saw those romanticism's first hand- information is never…
McCarthy and Bullock are simply outstanding in a film where they find themselves playing Robert De Niro and Al Pacino. Not as funny as I thought it would be though.
"The characters’ motivations, their raisons d’être, do not have—nor do they need—much more depth than the film reels and screens manifesting their story in pixels. The famous scene, with Pacino and De Niro having coffee, is intriguing in this regard. The more I think about it, the more this scene strikes me as a curious anomaly, not unlike Hamlet’s “To be or not to be” soliloquy, in that it doesn’t really advance the plot but rather provides a poetic interlude in which actors can show off. What’s Hanna trying to do during the scene? Get inside Neil’s head? Talk him out of risking lives in his exploits? Give him fair warning? Grandstand in front of him?
"Let’s face it: the…