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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.
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.
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…
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?
this movie is very stylised maybe to much. the score is terrific. who ever thought Robert Prosky would played a mob boss.
When your film is over two hours and still feels lean, you know you're doing something right.
Saw this movie the second time, in the directors cut. It's not that different to the theatrical version. Anyway, it's a cool and stylish movie with a great score. Especially the last scene, great title.
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The following is a mere smattering of the encounters you'll soon be able to dominate with this proven life-changing product:
• Trying to woo that handsome cashier at the local café? If this doesn't melt her icy heart, nothing will:
"Let's cut the mini-moves and the bullsh*t, and get on with this big romance!"
• Having trouble asserting yourself whilst being judged? Make your voice heard:
"Your criteria are so far up your ass, they can't see daylight!"
• Pesky busboy interrupt your pleasant chat with the better…
Becoming closer to his dream of leading a normal life, a professional safecracker agrees to do a job for the mafia, who have other plans for him.
Michael Mann's excellent feature-length directorial debut.
You don't get many films cooler than this. This films is executed perfectly throughout and you can't really fauly anything about it.
Dat Tangerine Dream score tho!!!
A solid crime-drama that is as engrossing as it is entertaining.
Mann creates worlds. We admire them.
Il devrait y avoir plus de génériques de fin en mauve. Ça flash en ti-père.
James Caan is fantastic in Mann's first feature film, and the director's personal style seems fully formed already. Not an action film, really, but an effective mix of drama and suspense.
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