Heat

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(CASTELLANO) Es una gran película, y no solo por el duelo entre De Niro y Pacino, que ya de por sí bastaría para hacerla especial. Lo impresionante es cómo Michael Mann convierte una historia de policía y ladrón en algo mucho más grande, más triste y más elegante. No va solo de atracos, persecuciones o tiroteos, sino de hombres que viven atrapados en su propia forma de entender el mundo. Además, en mi caso tiene algo añadido, porque fue una película muy ligada a un recuerdo importante de juventud, de esos que se te quedan pegados para siempre al cine. Quizá por eso también me hace gracia pensar que la primera vez no le presté toda la atención que merecía y que tuve que verla otra vez más tarde, ya con la cabeza en su sitio. Y la verdad es que la película gana mucho cuando la miras de verdad, porque está llena de detalles, de silencios y de miradas que pesan tanto como la acción. Lo mejor de Heat es que tiene músculo de thriller y alma de drama. El famoso tiroteo sigue siendo una barbaridad, seco, brutal y perfecto en su ejecución, pero la película no vive solo de eso. Vive también de sus conversaciones, de sus códigos, de esa idea de que perseguidor y perseguido se parecen más de lo que les gustaría admitir. Ahí está una de sus grandes virtudes: entender que el verdadero centro no es el choque entre bien y mal, sino entre dos obsesiones. Pacino está pasado de vueltas, sí, pero aquí funciona. Tiene energía, excentricidad y una presencia salvaje. De Niro, en cambio, va por otro camino: más contenido, más frío, más silencioso. Y precisamente por eso el cruce entre los dos tiene tanta fuerza. Mann sabe que no necesita juntarles veinte veces; le basta con unas pocas escenas para que notes que estás viendo algo grande. También me gusta mucho cómo está filmada. Esa ciudad nocturna, esos interiores fríos, esa sensación de distancia emocional, de vidas rotas que siguen avanzando aunque ya sepan que no van a acabar bien. Heat tiene estilo, claro, pero del bueno: del que no adorna, sino que define el mundo de la película y a los personajes que lo habitan. En conjunto, me parece una película enorme, de las que envejecen muy bien y siguen imponiendo respeto. Puede ser larga, sí, pero cuando termina sientes que has visto cine del grande, un thriller adulto, elegante, tenso y melancólico, con dos monstruos delante de la cámara y un director que sabía perfectamente lo que tenía entre manos. (ENGLISH) It’s a great film, and not just because of the De Niro–Pacino duel, which on its own would already be enough to make it special. What’s really impressive is the way Michael Mann turns a cops-and-robbers story into something much bigger, sadder, and more elegant. It isn’t only about heists, chases, or shootouts, but about men trapped inside their own way of understanding the world. In my case it also carries something extra, because it is tied to an important memory from youth, the kind that stays attached to cinema forever. Maybe that is why I smile at the fact that the first time I saw it, I didn’t really give it the attention it deserved, and had to watch it again later with my head in the right place. And the truth is that the film rewards that second look, because it is full of details, silences, and glances that carry as much weight as the action. What makes Heat so strong is that it has the muscle of a thriller and the soul of a drama. The famous shootout is still astonishing, dry, brutal, and perfectly executed, but the film does not live on that alone. It also lives through its conversations, its codes, and that idea that hunter and hunted resemble each other far more than either of them would like to admit. That is one of its great strengths: understanding that the real center is not the clash between good and evil, but between two obsessions. Pacino is over the top, yes, but here it works. He has energy, eccentricity, and a wild presence. De Niro, by contrast, takes the opposite route: more restrained, colder, quieter. And that is exactly why the collision between the two has so much force. Mann knows he does not need to put them together twenty times; a few scenes are enough to make you feel you are watching something major. I also love the way it is shot. That nocturnal city, those cold interiors, that sense of emotional distance, of broken lives that keep moving even when they already know they are not going to end well. Heat has style, of course, but the right kind of style: the kind that does not decorate but defines the world of the film and the people living inside it. Overall, I think it is a massive film, one that ages beautifully and still commands respect. It may be long, yes, but when it ends you feel you have watched major cinema: an adult thriller, elegant, tense, and melancholy, with two giants in front of the camera and a director who knew exactly what he had in his hands.

Heat is known to be one of Michael Mann's masterpiece and in doing a re-review just like I was thinking of some of my older ones I'm going to be redoing just to make them long which is so special to me and all of you guys. Starring a huge amount of cast such as Al Pacino, Robert De Niro, Val Kilmer and many more, this is going to be one hell of a ride. Neil McCauley played by Robert De Niro, is a professional thief and he and his crew, Chris Shiherlis, Michael Cheritto, Gilbert Trejo, Waingro who is newly hired, are both set out to rob a million dollars in bearer bonds from an armored car. During the heist, Waingro kills a guard without provocation, forcing the crew to eliminate the other two guards. McCauley prepares to kill Waingro in retaliation for the deaths of the guards, but he escapes. Vincent Hanna played by Al Pacino, and his team investigate the robbery. He has a wife, Justine who he and her had a strained relationship and he struggles to connect with his stepdaughter, Lauren played by Natalie Portman. McCauley however begins a relationship as well with Eady who is a graphic designer. So now the two are going to battle each other to the very end while stop at nothing. I remember seeing Heat at a young age at the right one and in later years back in 2016 since I got an IMDB account and looking at the Top 250 Movies of all time I got pumped. I didn't realise how good the film really is along with the others at that time such as Casino, Se7en, The Thing, The Usual Suspects, L.A. Confidential, American History X and the Alien films. Now I thought I was going to do so by watching it multiple times which I did and it never disappoint. This is what makes a movie so special. It's so impeccable. Seeing Al Pacino and Robert De Niro together in one movie is so mind-blowing. Seeing both two fantastic actors in one movie together is what makes them a duo. I think you'll remember seeing them so young in The Godfather Part II but they never share a scene together but now you see them in here now and next time you'll seeing them again in Righteous Kill and Martin Scorsese's The Irishman. Seeing them for the first time ever in one scene is in the diner scene is what makes the movie so special and you'll know they're bestest best friends for life BTS. Al Pacino is having a blast in this film. His lines is what makes it so memorable, it's crazy. "I'm angry. I'm very angry, Ralph. You know, you can ball my wife if she wants you to. You can lounge around here on her sofa, in her ex-husband's dead-tech, post-modernistic bulls**t house if you want to. But you do not get to watch my f**king television set!" "Why'd I get mixed up with that b***h?" "Cause she's got a GREAT ASS... and you got your head ALL THE WAY UP IT! Ferocious, aren't I? When I think of asses, a woman's ass, something comes out of me." The film however does provides one of the best action scenes in film history even years ago in one morning I'm being told to turn the volume down 'cause they're in bed. Of course I said years ago that the ending chase is thrilling and it sort've reminds me of me staying outside in the dark. Oh, those days. I have no problems with this film, it's so memorable and it's definitely my favorite of the few so here's that. I love everything about this movie, the action scenes, the pacing, the moments of silence even towards the end, just everything no doubt. I love Heat and I love both of these leading actors. Since I have no problem that this is nearly three hours long, I can watch it in one day without a fail like with Casino, Scarface, The Godfather Part I & II, Dances with Wolves, The Wolf of Wall Street and of course, Lawrence of Arabia. This is definitely one of Michael Mann's best films of all time.

You don't live with me, you live among the remains of dead people. Heat is written and directed by Michael Mann. It stars Robert DeNiro, Al Pacino, Val Kilmer, Jon Voight, Tom Sizemore, Diane Venora, Ashley Judd, Amy Brennerman and Danny Trejo. Music is scored by Elliot Goldenthal and cinematography by Dante Spinoti. Big time thief Neil McCauley (DeNiro) is after one last major score before he retires, but hot on his tail is Vincent Hannah (Pacino), a cop equally and methodically as driven as he is himself. In the build up to Heat's release, much was made of it being the first on screen pairing of DeNiro and Pacino. A mouthwatering prospect for sure, it proved to be worth the wait and unfolds as a lesson in restrained acting with two modern greats affording each other the respect that was due. What we didn't realise in the build up to the film's release, was that it would prove to be one of the greatest cops and robbers movies of all time, brought to us by an auteur director whose kink for realism and commitment to research stands him out from much of the modern directing pack. Rarely does a film come together as one, where all the cogs of the engine are in tune, but Heat is one such picture. From cast performances to visual aesthetics, to screenplay and actual substance of story, Heat is as meticulous as it is thrilling. There are a myriad of characters brilliantly stitched together in one de-glamorised City of Angels, as plot develops, and each character and their crumbling relationships come under inspection, we are witnessing a coarse viewpoint of human nature, where people's lives are ended or defined by their choices. Everywhere you look, here, there are folk cracking under the strain of being exposed to high end crime, dreams, hopes and happiness are unlikely to be achieved, and this is on both sides of the law. For Heat, Mann fuses the tonal and visual ticks of Manhunter with that of the adrenalin rushes from Last of the Mohicans, with the former gorgeously born out by Spinoti's pin sharp photography, the latter thrillingly realised by Mann's skill at action set pieces. Once again word of mouth about the key heist and shoot out in the film led to high expectation, and again there is no disappointment. L.A. becomes a battle ground, rapid gunfire punctures the air, cars swerve and crash, bodies fall, visually and aurally it drags you to the edge of your seat, an extended action sequence fit to sit with the best of them. The kicker as well is that because Mann has been so detailed in his characterisations, we care about what happens to all parties, we understand motives and means. Which in a film with such a huge support cast is quite an achievement. There is enough in Heat to fill out a dozen other cops and robbers films, fans of neo-noir and crime films in general are spoilt supreme here. It's not rocket science really, put a group of great actors together, give them an intelligent script to work from and let them be guided by a director who will not sit still, and you get a great film. Heat, the ultimate predator and prey movie, where from beginning to end it refuses to be lazy or cop out, and energy and thought seeps from every frame. 10/10

**A good film, with great actors at the highest level, a little different from other action films and that deserves to be revisited these days.** If there's one thing that can be a good pastime, it's an action movie, with ingenious and fearless thieves and police willing to do anything to arrest them. That's what this movie is, basically, and although we've seen many movies with this recipe, neither does it become tiresome, nor do the movies become boring or less interesting. Michael Mann is today a director with solid action credits, thanks in part to this film, but also to “The Insider” and “Collateral”. Before this film, he had shown extraordinary competence in directing “Last of the Mohicans”, a film that I consider an example for harmonizing creative freedom, absolute historical rigor and a great respect for the source material. In this film, Mann does not disappoint and once again gives us solid, consistent, committed and creative direction. For the cast, several great actors with given evidence were called. Of course, it's not possible for everyone to have the same degree of protagonism, but I think that each one of them had the time and material necessary to do a very well done job. Al Pacino and Robert De Niro clearly stand out from the crowd. In addition to having the central characters of the plot, they are both incredibly intense, charismatic, explosive. It's worth watching this duel of the titans. Pacino is the most unlikable and difficult to like because he is constantly on the verge of a nervous breakdown. De Niro is kinder and more human, so it's not hard to root for him. In addition to them, we have the excellent work of Val Kilmer and Jon Voight, and a well accomplished performance of Tom Sizemore. The film also features appearances by Danny Trejo (almost playing himself) and a teenager named Natalie Portman, among many other well-known names. Despite everything, this film has little action, many will say. And really, the priority that was given here is the development of the characters and each of their stories, so that the action is more concentrated in some specific sequences like the anthological sequence of the robbery and shooting in the middle of the street. I liked that, and I liked that this movie tried to be different in a positive way. My only criticism is the slow and tiresome pace that the film assumes most of the time. With a slightly faster pace thanks to some surgical cuts, the film would become lighter. Filmed in Los Angeles, in the city itself (I can only imagine what a logistical nightmare it must have been!), the film couldn't have better sets and costumes, striving for total realism. The special effects work very well, the cinematography is wonderful, and the film is visually very elegant and mature.

We know pretty much from the start who is who, here. “McCauley” (Robert De Niro) is a fastidious criminal who uses his gang of regulars to stage intricate robberies with relative impunity. His counter is police lieutenant “Vincent” (Al Pacino) who is trying to track them down - but from a bit of a standing start. These guys never leave any clues! Then, one tiny slip-up during an armoured car robbery gives the tenacious detective a glimmer of hope that might just lead the cops to one of his number. Meantime, on the personal front “Vincent” is having trouble engaging with his wife “Justine” (Diane Venore) who is sick of his constant absences and late shift work, whilst the determinedly bachelor that is “McAuley” befriends a girl in a diner and “Charlene” (Ashley Judd) soon gets under his skin, giving him a new reason to reassess what he wants from life. It’s all going to come down to one last job, and with the police now breathing down their neck it’s going to be a matter of wile, guile and wits as to which might prevail - and Michael Mann manages to build and then sustain quite a degree of tension leading to an exciting last twenty minutes whilst still keeping the jeopardy going right to the end. There are quite a few solid veins of sub-plots contributing here, too, that allow Val Kilmer and Kevin Gage to take some of the limelight and relieve a little of the burgeoning tension between De Niro and Pacino, and though I did think the latter man here did overact annoyingly at times, the whole ensemble delivers a superior heist movie that just goes to show that it’s never the actual robbing that causes the problems, it’s the getting away with it.