Heat

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

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As the opening credits reel off a million now household names, I’m wondering how the hell there could be so many parts in this movie. And by the end, I was left wondering just what Hank Azaria and Natalie Portman’s characters brought to the table (nothing against their performances) beyond piling an extra half hour into an already long and unfocused film.

Heat‘s best features are its exciting and elaborate set pieces. They rarely move the plot forwards, but they do act as an explosive break from the clichéd dialogue offered by the “rogue cop vs. career criminal out for one last score” storyline. Even by 1995, this shit must have been getting old.

Most of its action sequences seem like something straight out of a video game – they’re tight, almost claustrophobic, but they’re ridiculous, relying heavily on the fact that nobody can aim for shit, and bullets can’t travel through things like trees and shopping carts.

Heat

Sold to audiences as the Pacino/De Niro showdown they’d been waiting for since The Godfather Part II, I would have liked to see more of their relationship. By the mid-nineties, action films were a dime a dozen. People praise this film because of the sheer number of character storylines. But all I can think of is that if only a few of them had been cut, the Pacino/De Niro showdown could have shined through much brighter.

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