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You can skip movies 10 times but never go back.
Frank is an expert professional safecracker, specialized in high-profile diamond heists. He plans to use his ill-gotten income to retire from crime and build a nice life for himself complete with a home, wife and kids. To accelerate the process, he signs on with a top gangster for a big score.
God damn. This is one of the most heavy and stylized movies I've seen all year. Not to mention just straight up bad-ass.
The beauty with Michael Mann's directorial debut "Thief", all lies in the aesthetic of how it's made and tells its story. Any other filmmaker would have probably turned this into some generic heist flick, but under the arms of Mann, he crafts it to something really damn engaging.
His direction is stable, in control, keeping everything that needs to be within the frame there in all of its glory. Allowing viewers to sink in the impeccable amount of detail he's put into his first shot behind the camera.
I especially love the opening sequence, showing off what…
Thief reminds me of Drive.
I love Drive. And I love Thief too.
I love the quiet Ryan Gosling; and I love the aggressive James Caan.
I love the driver who has a specific set of rules; and I love Frank who lives by his own principles.
I love the silence and serenity between Gosling and Mulligan; and I love Caan's avalanche of conversation with Weld.
I love the driver's trucker jacket; and I love Frank's leather jacket.
I love Cliff Martinez's synth soundtrack, and I love Tangerine Dream's 80's score.
I love the neon-lit night sky in Los Angeles; and I love the neon-lit night sky in Chicago.
I love Nicholas Winding Refn, and most naturally, I love the great Michael Mann.
Two equally amazing films, 30 years apart.
"I am the last guy in the world that you wanna fuck with."
Noir-vember film #6
Scott Caan's dad in Michael Mann's debut film as the last guy in the world you want to fuck with. Getting your point across. A pot-head jailbird who can't wait to get on the road again. A soulful house-band. The Belushi no one gives a fuck about. A fat-fuck mob boss who talks way too much shit. Dirty cops. Courtroom shenanigans. Front-porch adoptions. Police brutality. A Melville-esque heist. A fun day at the beach. Not playing by the rules. Tuesday's gone with the wind. Blowing every last mutha fuckin thing up. Taking out the trash G.T.A style. Mann's debut fuckin owns.
You can pretend nothing means nothing and try and go your own way, but if you want to make it in this country, you gotta serve somebody.
Driving home from the mindblowing 35mm screening the streetlights and neon looked brighter, more meaningful. Tonight I'll dream about tools and really specific lingo. Total Mannsterpiece.
Watching Thief for the (probably) 50th time is just as rewarding and awe-inspiring as the first watch. Mann's masterpiece of rainy Chicago streets, neon lights and slowly escalating tension is something to behold. I am listening to Tangerine Dream's incredible score as I write this review for Thief, trying to put into words my complete and utter adoration for this magnificent piece of work.
The Awesome: Simultaneously a masterful character study and neo-noir, Mann is at his peak here; juggling both the style and substance with wonderful agility. Mann knows when to focus on the characters, or when to showcase a stunning shot of a car-hood, reflecting neon lights on a rainy night. It's that balance that makes the film…
Up until a few hours ago, I had never seen a Michael Mann film before. What the hell is wrong with me?
I love how Mann approaches technology and architecture.
It amazes me that Thief received little success commercially back in 1981. The influences it has had on films since then is evident, and will continue as long as people want to look for a visually striking film to inspire them.
One of Mann's best. James Caan approaches the role with such calm and control, it's impossible to not become attached to his crusade for an idyllic life, or his vision of what one is.
I read a piece of trivia that stated the streets were purposely covered with gallons of water to make the lighting become more effective. It works. Combined with the pulsing score every flash of neon in the gritty streets of Chicago pop off the screen.
An interesting 80s ride, though not really too much going on storywise. There are a few interesting points, but you can feel the 1980's in this movie. James Caan does a good job, as do the rest of the cast. Except for "James Belushi", but he's passable. I guess. A cool film, if it it looks like something you'd be interested in, then you probably will be.
The near-perfect version of the film that Mann has been trying to make for the last 30 years.
I had this rated four stars before I grew the fuck up
Honestly I liked this and appreciated it was probably the "Drive" of its day but it just didn't do much for me.
I actually prefer Mann's later work of "Heat", "Collateral" and his masterpiece "The Insider".
Didn't grip me like Heat and Collateral did. Really good conclusion, but the first half of the film felt slow and it seemed like a number of lines were being delivered awkwardly. The passage of time is strange... jarring cuts didn't help. I felt lost, and I feel bad for that. Could benefit from a second viewing, but I'll give it some time.
Very good, also Tangerine Dream soundtrack.
Already in his directorial debut , Michael Mann already shows everything that he would explore in his films on this journey into the criminal life. Since its luxurious and brilliant dark bluish visuals around Chicago that resembles the enclosure of a Noir film; the emotionally profound existential questions of a real deep character study of Frank, played masterfully by James Caan; and the journey of the hero who doesn't fear death with a bloodlust about to explode, coming from a Western aura. Along one direction overflowing a unique style, a superb narrative control, which makes this cinematic pearl, a truly brilliant masterpiece to be better recognized!
80 favorite movies from the 80s. I've attempted to put them in order. There's a lot of movies I need…
Movies that embrace an 80's-ish tone with synth or Vaporwave soundtracks or a neon aesthetic.
Suggestions are welcome of course.