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Heat (1995)

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A group of professional bank robbers start to feel the heat from police when they unknowingly leave a clue at their latest heist.

Director:

Michael Mann

Writer:

Michael Mann
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494 ( 1)
Top Rated Movies #122 | 13 nominations. See more awards »

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Cast

Cast overview, first billed only:
Al Pacino ... Lt. Vincent Hanna
Robert De Niro ... Neil McCauley
Val Kilmer ... Chris Shiherlis
Jon Voight ... Nate
Tom Sizemore ... Michael Cheritto
Diane Venora ... Justine
Amy Brenneman ... Eady
Ashley Judd ... Charlene Shiherlis
Mykelti Williamson ... Sergeant Drucker
Wes Studi ... Casals
Ted Levine ... Bosko
Dennis Haysbert ... Donald Breedan
William Fichtner ... Roger Van Zant
Natalie Portman ... Lauren Gustafson
Tom Noonan ... Kelso
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Storyline

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>

Plot Summary | Plot Synopsis

Taglines:

A Los Angeles Crime Saga See more »

Genres:

Crime | Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for violence and language | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official Facebook | Official site

Country:

USA

Language:

English | Spanish

Release Date:

15 December 1995 (USA) See more »

Also Known As:

Heat See more »

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Box Office

Budget:

$60,000,000 (estimated)

Opening Weekend USA:

$8,445,656, 17 December 1995, Wide Release

Gross USA:

$67,436,818

Cumulative Worldwide Gross:

$107,000,000
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital | SDDS

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Mykelti Williamson, Martin Ferrero, and Xander Berkeley appeared on Miami Vice (1984), executively produced by Michael Mann, and Ted Levine appeared on the Mann-created Crime Story (1986). This was the first time all of these actors had been directed by Mann in a feature film. See more »

Goofs

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 »

Quotes

[first lines]
Construction Clerk: Check, charge, or cash?
See more »

Alternate Versions

The television version aired by NBC on January 3, 1999 was disowned by director Michael Mann and credited to "'Alan Smithee'" because, though Mann offered to reinstate 17 minutes of deleted footage in the film to make it fit a four-hour time slot, NBC decided to excise over 40 minutes of footage from the theatrical release in order to make it fit a three hour slot (including commercials). See more »

Connections

Referenced in Public Enemies (2009) See more »

Soundtracks

Get Up To This
Written by Derrick Xavier Gumbus (as Derrick Gumbus) and Loren Chaney
Performed by New World Beat
Courtesy of Windswept Pacific Entertainment Co.
See more »

Frequently Asked Questions

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User Reviews

 
The best character film of all time.
23 June 2000 | by aborigineeSee all my reviews

Sound like a bold statement? Devotees of classic cops and robbers flicks of old will no doubt take exception, but I believe that Michael Mann achieved some measure of perfection with Heat. To break this three-hour gem of a film down to its core, this is a film about men - strong men - and the supporting role that he women of the film have on them for better or worse. Take Pacino as good cop Vincent Hanna: one of the most intense characterizations of the tragic hero that I have ever witnessed, as he laments the demise of his third marriage to a pill-junkie wife. A fact which he discusses with his archnemesis (De Niro) in what history will regard as one of the most frenetic scenes in the history of film. The dialogue in this scene (at the very end of the first tape, if you own the VHS version) sets up the last half of the film beautifully, as our two rivals come to the joint realization that they have no hand in choosing the paths that will lead them to their ultimate confrontation: their very natures so define their respective actions that any attempt to do otherwise would simply be a waste of time. While I have heard others (who I am ashamed at times to call close friends) say that Heat drags in places, I will concede that there are moments in the film that require more than the cursory attention that they give to the movie they happen to be watching at any given time (I'm sorry not every director is Jerry Bruckheimer), there are poignant developments of character in Heat that many would casually disregard. I am thinking of the interaction between the ex-con who finds conditional employment in a diner with an opportunistic scum of a boss, and whose girlfriend is so proud of him for swallowing his pride and not simply giving the sonofabitch a good pummeling. But there is a catharsis that I felt for that same ex-con when De Niro's character presents him with the opportunity to take just one more score, for old time's sake. Who doesn't feel for this guy - this minor character in a film with big-time heavyweights who gets to shine for a few brief moments. That's what Heat is really: a series of brief moments, some touching, others traumatic, and still others incredibly horrifying in the feelings that they inspire in the romantic who, like me sees not black or white portrayals of protagonist and villain, but a montage of grays that combine to create a vivid spectrum of film characterization that could not be found in hundreds of films combined. One of my five favorite films of all time, Heat is a cinematic banquet of intense imagery and pulse-pounding action. Come hungry.


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