A tale of greed, deception, money, power, and murder occur between two best friends: a mafia enforcer and a casino executive, compete against each other over a gambling empire, and over a fast living and fast loving socialite.
A mentally unstable veteran works as a nighttime taxi driver in New York City, where the perceived decadence and sleaze fuels his urge for violent action by attempting to liberate a presidential campaign worker and an underage prostitute.
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.
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>
While investigating the armored car scene, Detective Casals is wearing an eyelet collar shirt (indicated by the collar pin under his tie). Later in the same night when Vincent calls asking if Albert Torena called, Casals is wearing a dress shirt without eyelet holes. See more »
In the original 1995 theatrical release, the end credit theme slowly faded by Moby mid-credits to the sounds of a quiet air-field that played through the remainder of the credits. This was later changed in the subsequent home video release and restored theatrical versions which plays the opening theme over the credits. 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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