For when that friend asks you to introduce him to some really great films. This list is not meant to…
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…
In this sleek neo noir, Michael Mann's ultimate ode to the City of Angels, we witness two men search for purpose in profession, one as cop and the other as criminal
I feel like half of this film wasn't necessary
After a rewatch the screen time feels even shorter but still seems suffice as it has such a great rewarding closure.
The set-pieces are beautifully designed and the cinematography captures it all to perfection.
The sound editing is great, the voices are not too loud and when the street shoot out occurs there is just a barrage of sound which put the speakers to work.
There isn't anywhere you can go wrong with a Crime Thriller starring Al Pacino and Robert De Niro with Michael Mann at the helm. There wasn't anything wrong with the supporting cast including Danny Trejo at about 2 years old, Val Kilmer, Tom Sizemore and the Moustache committee of LA.
Nice acting from the leading roles but excessively long and a bit short of action (more drama than necessary)
The reasonable man's action movie. For every masculine paroxysm there is a proportionately resonating and subtle glance or gesture that maintains the film's nuanced and severe realism. Every motivation and ensuing plot point is executed while bearing in mind that, in this case, neither side of the law has the moral high ground. However dormant, and ultimately untapped, such a sympathetic nature prevails in maintaining each character's humanism. Furthermore, the women, though largely relegated to the side and deeply flawed themselves, are the film's only sensible characters. Applying this action movie taboo quashes any notion that Mann's coup is a man's man's movie. It is too smart for such simple epithets. For that matter no single word or turn of phrase could sufficiently convey the philosophical and emotional salvo "Heat" accomplishes. This is a masterpiece outside the realm of any label, which if attempted would only act as a defamatory misnomer to a chameleonic work of art.
"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?."
Michael Mann's direction tells this crime saga that flows perfectly between the many storylines logically and fluidly, none of the story being lost. Each scene leaves its own, unmistakable impression, and each scene of each storyline builds upon the previous. The cast is pitch perfect and everyone shines. It containins one of the best shoot-outs ever put to film.
The story with Pacino and his home…
I'm completely in love with this movie.
Probably one of the greatest heist films ever made, its my favorite action film. Great performances from Pacino and De Niro and that diner scene, wow! Michael Mann really knows how to direct a good action film, well at least he used to. Its very well paced and it has one of the best action scenes ever in my opinion. I highly recommend it.
500 DIFFERENT FILMS IN 2016
Well you sure feel like you watched a movie after you set through Heat, that's for damn sure. It's a long film and it feels long but not in a bad way. It's nice when a straight forward story is told but feels so damn exceptionally done and that's how I feel about Heat. Pacino and De Niro are so damn good here and play to their strengths and things we have come to love about them, their characters go through similar things and share many traits but their professions separate them and define who they are. I kind of still wonder why Val Kilmer gets third billing on this film, yeah…
This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
Quentin Tarantino's favorite films based on the internet pulled from multiple sources.