A mentally unstable Vietnam war veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process.
Robert De Niro,
A botched card game in London triggers four friends, thugs, weed-growers, hard gangsters, loan sharks and debt collectors to collide with each other in a series of unexpected events, all for the sake of weed, cash and two antique shotguns.
Mathilda, a 12-year-old girl, who is reluctantly taken in by Léon, a professional assassin, after her family is murdered. Léon and Mathilda form an unusual relationship, as she becomes his protégée and learns the assassin's trade.
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>
One of the only scenes in the movie in which Neil Mccauley (Robert De Niro) smiles is when he sees Donald Breedan (Dennis Haysbert) in the diners' kitchen while working as a short order cook. He also smiles when Nate (Jon Voight) tells him in the car that Vincent Hanna (Al Pacino) thinks he's "sharp." He might also be smiling as he watches Hanna's antics as he photographs them in the container yard, and again as he walks towards the car to Eady after wasting Waingro (Kevin Gage). He also smiles briefly toward the end of his conversation with Vincent in the diner. See more »
Camera and crew reflected in the balcony window when Hanna is in his hotel room. 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.
295 of 348 people found this review helpful.
Was this review helpful to you?