NOW IN ALPHABETICAL ORDER!!
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…
A cinema of gestures, large and small, elongated and fleeting, carried through the whispering winds of an epic. Just observe the way Neil moves over near Eady after introducing himself, or how Charlene signals Chris about the sting by swiping her hand against the sharp metallic railing. Watch as Hanna picks up his dying stepdaughter with the utmost fragility, innocence lost and drowned by blood. See Neil's gentle plea towards Eady as she runs away from LA's shimmering atmosphere, the modern smog and neon colliding amongst the cosmos, his plan lost without her presence, her eyes, her beauty. Stare - mouth agape - as a police squad and a gang of bank robbers wage war on the asphalt, wounded…
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…
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).
”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…
Some fantastically created and beautifully written moments scattered across a moonlight street-lamp lit setting that is too cheesy for how serious it wants to be.
An intense and very complex character study with Pacino and De Niro delivering two explosive performances as men so alike but on opposite sides of the same battle. Still, the film has too many characters and scenes that make it feel much longer than it should be.
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One minute some of the best gun play I've ever seen takes place and then the next minute Al Pacino is asking Apu from the Simpsons if he is an owl and that he loves great asses.
But seriously. It started of releativly slow but once it kicked in that was it. Full of suspense that is driven by our connection to all the brilliantly written characters.
Violent and funny and awesome
A perfect blend of entrenching style and gritty realism that looked beyond it's genre limitations and updated it for a new age
angelheaded hipsters searching for the starry dynamo in the machinery of the night, as in, i’m guessing, almost every mann film.
for 90% of this: i get it, i see the poetry, i can appreciate its masterful commitment to vision; i’m just not that interested in these particular themes anymore. sorry! maybe it’s just that mann works under a different understanding of power dynamics, so while i can feel what he’s going for (and, gosh, he’s good at music cues for his express purposes) i have to temper my emotions so i can be okay with what’s being depicted as deserving of sentimentality, which means i have to engage with it more as technostructuralism than technoromanticism, and of course that isn’t so useful a lens for his work.
but when the last fifteen minutes sweep over the screen—yes, i can see now.
Masterpiece heist crime film with smooth dialogue and realistic action. If you're looking for a super deep film with loads of twists, this ain't it. But what you do get is a tense cat and mouse chase between two hollywood crime icons. Robert De Niro and Al Pacino, both at the top of their games. The action is gritty and believable. The dialogue will have you repeating lines for weeks to come afterwards. Michael Mann at his pinnacle.
Wow, what an experience! Intense action scenes, where you actually know what's going on instead of the camera just shaking you into believing it. Brilliant cast down to the supporting roles and awesome De Niro and Pacino performances. Breathtaking cinematography and score, in the end I was completely blown away by it and I didn't feel its 3 hour running time.
Falling in love is like a gush of fresh air when everything around you is dead or dying; like seing the sun for the first time; like opening a big present, wrapped in shiny yellow and orange paper, on Christmas morning. The other is a mistery. You don't know if they see you the same way you see them - like a puzzle to be unraveled -, but you goddamn hope they do. And when their eyes glint with the same glint you see in the mirror in the night, their mouth performs the same dance yours do when you remember the things they did, there is a god. And you're finally able to put the wrong right, to feel the right things, to do what you have to do. Falling in love is like dying.
Quando comecei a assistir mais filmes eu precisava de um caminho pra seguir e caí de cabeça em um monte…
All the films from all the editions, including those subsequently removed, presently totalling 1187. An easy way of seeing how…