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… –IMDb
Michael Kenneth Mann (born February 5, 1943) is an American film director, screenwriter, and producer. For his work, he has received nominations from international organizations and juries, including those at the British Academy of Film and Television Arts, Cannes and the Academy of Motion Picture Arts and Sciences. He has produced the Academy Awards ceremony twice, first in 1999 with the 72nd annual Academy Awards and second in 2004 with the 77th annual ceremony.
Mann was born in Chicago of Jewish heritage, the son of grocers Esther and Jack Mann. His father was a Ukraine immigrant and World War II veteran and his mother came from a family native to Chicago. Mann was close to his father and his paternal grandfather. He grew up in the Humboldt Park neighborhood and immersed himself in the burgeoning Chicago blues-music scene as a teenager.
He studied English at the University of Wisconsin-Madison, where he was an active member of the Pi Lambda Phi fraternity, and developed… read more
The vast majority of this is great, so I was more or less bummed when I found most of the last act to be fairly predictable. Arbitrary points aside, I found that it had more a lot more depth than a lot of the archetypal 'guys movies' I have seen this mentioned with, and I think this film can appeal to straight up action junkies and those looking for a little more as well. A pretty worthwhile (almost) 3 hours.
"Heat" explores solitude as an addiction. Mann's honest characters are haunted, lonely men engaged in destructive love-affairs with their careers. Why? For such perfectionists, a career is safe, a constant. It doesn't betray, it doesn't have needs, it doesn't love back. At least, this is the truth in their detached state. Violence has become a stale necessity for them, a crucial part of the craft and nothing more. So deeply rooted are these lost souls in their roles, that when an opportunity for mutual understanding presents itself, it's thwarted with action more passionate than usual. In McCauley and Hanna's world, empathy is a threat.
A propulsive survey of scores focusing on the thriller: procedurals, bank heists, neo-noirs, spy films, giallos, and sci-fi mind-games.
Elliot Goldenthal’s commercially unavailable “End Titles” music to Michael Mann’s Heat.
Above: Stand-ins help rehearse a scene from Public Enemies. Photo by Rob Olewinski. I spent a few days in the summer of 2008 on the set of
There is no other heist film that I know which is very smart and intellectual rather than this one. “Heat”, is directed by Michael Mann, and stars some all star cast, like Al Pacino, Robert De Niro… read review
This must be one of the strongest, most brilliantly orchestrated crime (heist&chase) movies I have seen, filled to the brim with good actors, no talent is lost (including the directors) and we… read review
In the tradition of David Lynch & ‘Mulholland Drive’, Michael Mann’s ‘Heat’ originated from a failed television project (‘LA Takedown’). ‘Heat’ carries over the same basic plot as well as certain… read review