Heist

Heist

2001 "It isn't love that makes the world go round."
Heist
Heist

Heist

6.5 | 1h47m | R | en | Drama

Joe Moore has a job he loves. He's a thief. His job goes sour when he gets caught on security camera tape. His fence, Bergman, reneges on the money he's owed, and his wife may be betraying him with the fence's young lieutenant. Moore and his partner, Bobby Blane, and their utility man, Pinky Pincus, find themselves broke, betrayed, and blackmailed. Moore is forced to commit his crew to do one last big job.

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6.5 | 1h47m | R | en | Drama , Action , Thriller | More Info
Released: November. 09,2001 | Released Producted By: Epsilon Motion Pictures , Franchise Pictures Country: United States of America Budget: 0 Revenue: 0 Official Website: http://morgancreek.com/film/heist/
Synopsis

Joe Moore has a job he loves. He's a thief. His job goes sour when he gets caught on security camera tape. His fence, Bergman, reneges on the money he's owed, and his wife may be betraying him with the fence's young lieutenant. Moore and his partner, Bobby Blane, and their utility man, Pinky Pincus, find themselves broke, betrayed, and blackmailed. Moore is forced to commit his crew to do one last big job.

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Cast

Gene Hackman , Danny DeVito , Delroy Lindo

Director

Helene Lamarre

Producted By

Epsilon Motion Pictures , Franchise Pictures

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Reviews

Predrag Here's a movie that has a razor-sharp script full if wit, style, and excitement. I think it's fair to say that David Mamet writes some of the best dialogue I've ever heard. It's a known fact that he uses a metronome in order to keep his dialogue to have a certain rhythm to it. There are so many great lines in this movie it's impossible to recite them all here. The directing is great. Mamet knows the genre very well.The acting by Gene Hackman is the tops. Here's a guy that is such an old pro he can take any role you give him and turn it into something great. This is not to say that the part of Joe Moore is uninteresting. It most certainly isn't! Danny De Vito is surprisingly good in this film. At first I thought, this guy is all wrong for this movie. The part he's playing is an old-fashion tough-guy villain. For the obvious reasons, this doesn't seem to fit De Vito, or so I thought. I have to admit, he is very entertaining to watch as well. Everyone it seems, has a problem with Rebecca Pidgeon. People tend to think that she's out of place in a Mamet film. Some think she delivers the lines wrong. Though I've never thought this of her, this is her best role! She reminds me of a modern, hip Veronica Lake, Barbara Stanywick type of femme fatal. She is just as good has Hackman in this movie. David Mamet's "Heist" is a modern classic that all other heist films must now be measured against! Overall rating: 8 out of 10.
Simon Harris Many of the reviews on this film mention the fact that it is overcomplicated and may have one twist too many. Good. I like to have to think about what's on the screen. If I want to switch off and simply stare, I'll watch a Transformers movie. For those viewers who like to keep on their toes and have to assess and maybe even re-assess what they are seeing this is a great movie. Snappy, quick fire dialogue, the kind of criminal, low life patois that Mamet does so well is peppered throughout the film, with staple Ricky Jay "cute as a Chinese baby" or "And there he goes!" getting some of the best lines. Top notch performances all round from all the cast members make this a classy, complex movie. Hackman's criminal mastermind is more than an equal to DeNiro's Neil McCauley in Heat but minus the sub-machine guns, and with a real world weariness about him, as he tries to ensure his last "thing" pays off. Delroy Lindo, Danny De Vito and Sam Rockwell don't let the side down either with strong support performances,and Rebecca Pidgeon as Hackman's much younger wife is diamond hard and dangerous as the only female in a world of double dealing Alpha males. Fans of the genre will be happy to watch it more than once as the web woven and the crossfire dialogue means there is always some new slant on events. Complex plotting, quotable dialogue, strong leads and supporting actors and David Mamet at the helm mean there are many worse ways to spend an evening.
Townley Thomerson One of the best one-liners was "We're going to storm the dust cabinet just like smoke fills a balloon on the sun." This kind of non sequitur dialogue is very difficult to write, but when it's delivered with a static expression it really pushes the envelope to the next level and beyond. Another great quip is delivered by Mamet himself during his cameo in the "Get KFC for the crew" scene (deleted scene). He says, "Man, life as a humble chicken soda salesman is literally rotoscoped security camera footage of a banjo backwater baptismal in black and white." Brilliant.
jzappa The film is literally about a group of people who know exactly how to communicate and collaborate without even having to confer by speaking, confronted with a newcomer who doesn't speak that language at all, and probably couldn't to save his life, but they're nevertheless forced to deal with him. Mamet's twists aren't just "twists." They work at this fundamental level, for instance as they all work right under our noses to rid themselves early in the game of this unexpected liability, how every character knows what the other really means and implicitly goes along with it lock, stock and barrel. This greenhorn, in all seriousness, expresses his guileless lack of understanding of what would ordinarily be expected to be meant, let alone the real situation as regards to him. Later on, when chance comes back to bite them, leader of the pack takes a moment to think, then gives them tasks. His number two guy asks where he's going with this, to which he just replies, "Just listen." They often nod to each other from a distance and no one else sees. We've seen this done a lot, but not in this way too often: What is the idea that one is communicating that the other immediately acts upon? Hackman plays Joe "Cute as a Chinese Baby" Moore, a thief whose real passion is building boats. His crew comprises Bobby ("You know why the chicken crossed the road? 'Cause the road crossed the chicken.") and Pincus ("He's so cool, when he goes to bed, sheep count him."), and Joe's wife Fran, who "could talk her way out of a sunburn." They pull a big job, with one snag: Joe's face on security camera. Time to tow anchor and aim for ports, but not as per Mickey Bergman, who forces Joe into One Last Job, and insists he include his incompetent nephew Jimmy Silk, the sort of madcap who packs a gun in an unsafe neighborhood which wouldn't be that if he left.The plot progresses through tangled altitudes of deception. Mamet adores magic, namely trickery, and this plot, like The Spanish Prisoner and House of Games, is a spectrum that refracts various realities conditional on how you're slanted at a given time. It also includes ample loads of criminal art, as in the minutiae of the opening diamond heist, and the way they appropriate gold ingots from a cargo plane later on.Some critics disliked the particulars I loved most. We learn from professional opinion-pushers that some climactic gunplay could've profited from more stylized treatment, which is amazingly unwise. Are they suggesting they would've favored one of those according-to-Hoyle automated gunfights we're tired of after innumerable overhauls? What I love about this climactic gunfight is the way some of the characters are clumsy and uncomfortable. This is perhaps their first gunfight. DeVito skips into the line of fire frantically, "Let's just talk!" Earlier, you suddenly find a violent confrontation breaking out between Delroy Lindo and a few of DeVito's heavies, and then going right back to trying to talk things out, right out of the building. The care with which Hackman says, "He ain't gonna shoot me? Then he hadn't oughta point a gun at me. It's insincere." And the typical exactness of this exchange: "Hey, I'll be as quiet as an ant pissing on cotton." "I don't want you as quiet as an ant pissing on cotton. I want you as quiet as an ant not even thinking about pissing on cotton." I'm also confused by why critics harass Rebecca Pidgeon. Yes, she has a distinguishing delivery which is well-matched with Mametized dialogue: terse, abrupt, informal. Mamet enjoys creating anachronisms for her like when Joe says, "Nobody lives forever," and with pure deadpan she replies, "Frank Sinatra gave it a shot." She's not meant as a graceful classic noir succubus, though her character doesn't mind seizing that opportunity, but as a gutsy Anybodys sort who can't entirely be trusted. Mamet bothers to provide us with technique and inventiveness, and is criticized by professionals because his work doesn't come from an automated press.Hackman is naturally a connoisseur at gristly, graying veterans and, oddly, has been throughout his career. He and Lindo make a home in their roles so effortlessly facing twists and double-crosses with down-to-earth authenticity. A makeshift rapport that assures us they've collaborated for quite a long time and are like-minded on all that counts, their knowing abbreviation is like an old stand-up's slang, guiding our interest away from the ruse. And DeVito is one of the most unfailingly amusing actors in American cinema, with an oomph that makes his dialogue throb. "I've just financialized the numbers," he rationalizes. He's not a bad guy here, simply an unethical capitalist glutton with risky affiliations.And one may wonder why Pidgeon's Fran would do what she does after the truck collision, but it's because we can't be certain whether her final surprise is really her final surprise. And the film closes with one of the great movie smiles, maybe a little more at us than what's transpired. And we smile back, cheek to cheek, because it's still self-contained: This character knows the final surprise is not the final surprise. Heist is the brand of caper film that came before special effects supplanted sharpness, structure and dialogue. This movie is comprised of natural ingredients, not manufactured goods. With both heists, at the beginning and in the middle, major stakes are raised, because in spite of its practically record-setting amount of plot twists, it's about its characters.