When Jack, a small criminal who never amounted to something after systematical abuse by his father, is just out of jail after six months for his part in a theft of TV sets, he has nowhere else to crash then the place where his brother Moe, a penniless jazz musician, lives upstairs illegally. Their life suddenly gets a new perspective when they observe a robbed armored car is parked downstairs by three black hardened criminals. Jack only has eyes for the mountain of cash that can turn them instantly super-rich, and produces -to his startled brother's surprise- a hand gun, just in case; Moe on the other hand is reticent, till they notice a blonde girl which the hoods hold handcuffed, then decides rescuing her is worth the risk. After the three thugs have a row, Trent, who is unruly even by their standards, takes off but returns with a few scared white buddies of his. There are now too many guns and takers for the money for the plot to end without a heavy body count, while happy ends ... Written by
A sharp, witty action film proving yet again Voss's versatility.
This is yet another sharp, stylish genre piece from the talented and always underappreciated Kurt Voss, a skilled director as at home in the world of low-budget exploitation as in that of character-driven art house work. Here Voss uses the limitations of the low-budget genre world as assets, creating a work of energy and distinction marked by the same kind of witty dialogue as his collaborations with Allison Anders or his underrated HORSEPLAYER. Whereas most of the straight-to-video and cable world is a vast wasteland of clunky, empty-headed junk, Voss is continuing in the tradition of people like Jonathan Demme, Martin Scorsese, and Joe Dante, who in the seventies used exploitation films as vehicles for intelligent, personal entertainments. Like all of Kurt Voss's work from BORDER RADIO to SUGAR TOWN, THE HEIST is a great deal of fun and highly recommended.
3 of 6 people found this review helpful.
Was this review helpful to you?