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>
The concierge at the airport hotel is played by a former L.A.P.D. detective who served as one of the film's technical advisers. See more »
Moments before the street shootout starts, Michael Cheritto is the first to exit the bank. He walks calmly up to the waiting getaway car with Donald Breedan waiting inside and opens the front passenger door to get in. In the next shot he climbs into the back of the car. See more »
One of the most amazing things about Heat is the scale of the film; it is nearly three hours long and packed to bursting with mind-blowing visuals. It seems one of Michael Mann's main priorities was to make a film with a dreamlike feel to it, to portray LA as a dusty oil-painting on which complex characters could play out their lives. One of the main themes is the similarity of the career criminal and the street-wise cop. It is fascinating to find yourself really feeling for DeNiro's tragic bank-robber, a man of philosophical merit who realises he's stuck in a life of crime he doesn't want to lead. Pacino's cop is less easy to sympathise with, but he too leads an in-escapable life of guns and crime. What really stands out is the climax. On the whole, Heat has to be the best cops n' robbers film ever made, indeed, one of the best films. An epic, wonderful, sad, adrenaline-fuelled exercise in scale and grandeur.
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