The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.
A cab driver finds himself the hostage of an engaging contract killer as he makes his rounds from hit to hit during one night in Los Angeles. He must find a way to save both himself and one last victim.
When Keller Dover's daughter and her friend go missing, he takes matters into his own hands as the police pursue multiple leads and the pressure mounts. But just how far will this desperate father go to protect his family?
Hunters and their prey--Neil and his professional criminal crew hunt to score big money targets (banks, vaults, armored cars) and are, in turn, hunted by Lt. Vincent Hanna and his team of cops in the Robbery/Homicide police division. A botched job puts Hanna onto their trail while they regroup and try to put together one last big 'retirement' score. Neil and Vincent are similar in many ways, including their troubled personal lives. At a crucial moment in his life, Neil disobeys the dictum taught to him long ago by his criminal mentor--'Never have anything in your life that you can't walk out on in thirty seconds flat, if you spot the heat coming around the corner'--as he falls in love. Thus the stage is set for the suspenseful ending.... Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
In June of 2002, the scene involving the shootout after the bank robbery was shown to United States Marine recruits at MCRD San Diego as an example of the proper way to retreat while under fire. See more »
The shootout begins near the plaza at the intersection of Flower and 5th streets. After Bosko is shot Hanna gives chase and the getaway car is seen speeding, passing the spot where the shootout begun. Once McCauley starts shooting through a windshield window, the same spot is seen being passed again. The car is then seen passing the intersection, but once the tires get blown the car is at the intersection again with the plaza just few steps away. See more »
For some reason I cannot stop thinking about this film lately.
You know that feeling of having seen it about 3 or 4 times in the last 12 months is not enough? That's what I feel at the moment.
I rate it as Mann's best. It's his most kinetic,vibrant(for a film mostly shot in steely blue),agonising,stirring,brash,violent and brilliance in such a simple story.
What games did you play as a young kid? Cops and robbers.Good guy.Bad guy.
We all know De Niro and Pacino could have been either main part,but can you imagine it any other way round. Pacino doing ice cool calm? De Niro the manic outbursts,arms flailing? It wouldn't work. We know these men now.We know neither will stop at what they do.And yet there is no way either would stop the other.Unless they had too. Which leads us too the characters. All of them.
This is an extended family where you feel you know all of them without knowing anything at all. The cops are similar to the robbers and vice-versa. Perhaps Mann is telling us were all the same.Except in what we do.Every speaking part holds substance in this movie, and the support cast is astonishing when you actually read the caliber of who appeared in this film.Tom Sizmore, Val Kilmer,Ashley Judd,Ted Levine,Wes Studi,Hank Azaria,William Fitchner,Henry Rollins,Dennis Haysbert,Tom Noonan. And Natalie Portman, for chrissake! Try getting that cast again.
A real 10/10 film. And that Moby song at the end(God moving over the face of waters) gets me every time.
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