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6 items from 2016


Listen: Michael Mann Talks Changes To 'Blackhat,' 'Last Of The Mohicans' & Possible Sci-Fi Project In 1-Hour Talk

15 February 2016 8:54 AM, PST | The Playlist | See recent The Playlist news »

On the surface, Michael Mann doesn’t have much to promote these days, but the Brooklyn Academy Of Music’s retrospective “Heat & Vice: The Films of Michael Mann” has facilitated lots of change for the legendary filmmaker. First off, he’s recut his hacker thriller, “Blackhat” on his own — it’s unclear if it’ll get a proper release — and he’s supervised the prints of every film playing at Bam. In fact, for “Collateral,” his 2004 thriller starring Tom Cruise and Jamie Foxx that was mostly shot digitally, Mann supervised the first Dcp “print” of the movie, which he described as far superior to the theatrical prints struck at the time that did not reflect the nuance of how the digital photography captured light and texture at night. And that version will be shown for the first time (and only time?) tomorrow night (February 16th). Read More: Michael Mann At Bam: The Recut 'Blackhat, »

- Rodrigo Perez

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Michael Mann At Bam: The Recut 'Blackhat,' The Authenticity Behind 'Thief,' 'Heat,' ‘Ali,’ 'Collateral,' & More

12 February 2016 9:31 AM, PST | The Playlist | See recent The Playlist news »

Last night at the Brooklyn Academy Of Music, as part of their “Heat & Vice: The Films of Michael Mann” retrospective, the legendary filmmaker himself graced the stage for an engaging one-hour-plus talk. The conversation spanned his entire career tracking the very early days (TV movie “The Jericho Mile”), his debut feature (“Thief”), his crime classics ("Manhunter," “Heat,” “Miami Vice”) and his latest film, the cyber hacker movie “Blackhat,” which he recently recut for the retrospective (read our review here). Read More: Retrospective: The Films Of Michael Mann Fiercely intelligent and an autodidact known for his near-mythic levels of research when immersing himself in a project — he’s only made eleven features in thirty-four years and abandoned several projects despite years of investigation — Mann’s films often center on the codes of men and their professions, usually revolving around crime. These men often live what Mann constantly refers to as an “authentic. »

- Rodrigo Perez

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Breaking Down Michael Mann's Sharper Director's Cut Of ‘Blackhat’

11 February 2016 11:26 AM, PST | The Playlist | See recent The Playlist news »

Meet the new “Blackhat”… same as the old Blackhat —well, mostly. Last night, as part of an ongoing retrospective of his work at Brooklyn Academy of Music in New York, Michael Mann unveiled the world premiere of the new director’s cut of his techno-thriller: a film that, outside of a few passionate partisans in critical circles, was generally met with indifference when it was released last January (here’s our positive review). As someone who was neither a vociferous defender nor an ardent detractor of the film —finding myself feeling detached from its plot and characters while admiring Mann’s formalism, which is often expressive enough to compensate for its script and acting deficiencies— I was curious to see whether Mann’s new version would push me towards one direction or the other. Read More: Michael Mann At Bam: The Recut 'Blackhat,' The Authenticity Behind 'Thief, »

- Kenji Fujishima

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Movie Poster of the Week: Michael Mann’s “Thief”

6 February 2016 5:02 AM, PST | MUBI | See recent MUBI news »

The Us one sheet for Michael Mann’s 1981 debut feature Thief—which screens tonight and all weekend at BAMcinématek to kick off their retrospective "Heat & Vice: The Films of Michael Mann"—is an unusual design for its era. The colorful script title treatment is echt 80s of course, but the posterized monochrome portrait of James Caan overlaid over a photographic image of sparks from blowtorches (the titular character’s tool of choice) is something I haven’t seen before. It gives the poster an unusual three dimensional look, though at first glance those glowing goggles make it look more like a sci-fi film.Thief was released on March 27, 1981 and was damned with faint praise in The New York Times by Vincent Canby:“Mr. Mann may well become a very good theatrical film maker but, among other things, he's going to have to learn how to edit himself, to resist the »

- Adrian Curry

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NYC Weekend Watch: Birkin & Gainsbourg, Michael Mann, Vertov & More

4 February 2016 9:47 PM, PST | The Film Stage | See recent The Film Stage news »

Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

Film Society of Lincoln Center

The second weekend of “Jane and Charlotte Forever” offers two from Varda, a rare Rivette picture, Serge Gainsbourg’s tribute to his daughter, Zeffirelli‘s Jane Eyre, and a Bertrand Tavernier title, among others.

Museum of Modern Art

Lubitsch, Clair, and Griffith wrap up “Modern ‘Matinees’: Fashionably Late.”

“All That »

- Nick Newman

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10 Best Movies and TV Shows to Stream in January

6 January 2016 12:54 PM, PST | Rollingstone.com | See recent Rolling Stone news »

It's January, and if your new year's resolution was to watch better movies, then good news: We've got you covered (The bad news: You have terribly low ambitions). From comfort-food classics to a new Netflix documentary series that finds a comedian completely reinventing herself (and does not involve murder cases), there's a hot, hungover mess of great new things to stream this month. So sit back, relax, and enjoy our guide to the best of what's new to view during the first month of 2016. Because you don't have to get »

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2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009

6 items from 2016


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