Few films have captured the bloody logic and shifting loyalties of the criminal underworld with as much intensity and finesse as Michael Mann’s 1995 classic, Heat.
This movie is the high point of High 90s cinema, and with good reason. As we’ll see, every element is executed with virtuoso precision and blended in exacting proportion. The term “a perfect movie” gets thrown around a lot, but this is it. You can tell because without Heat in the 90s, we wouldn’t have gotten 2000s favorites like The Dark Knight and The Town.
Let’s dive into what makes Heat so special.
Set against the backdrop of mid-90s Los Angeles, this gritty crime thriller weaves a tale of obsession, honor, and betrayal. With a cast of legendary actors, a meticulously crafted screenplay, and Mann’s signature style, Heat has secured its place as one of the most influential films of its genre.
Going into a Michael Mann film, you know you’re in for a visual feast. Mann turns the sprawling urban landscape and neon-lit streets into an atmospheric backdrop which – I’ll say it – rivals Ridley Scott’s vision for Blade Runner. Mann’s signature visual style, characterized by low lighting and a cool blue color palette, lends an almost ethereal quality to the film, accentuating its somber tone.
The screenplay, penned by Mann himself, is a work of art. It explores the duality between law and criminality while finding no hard and fast line between them. The dialogue is crisp and authentic, revealing the characters’ motivations and inner struggles without once resorting to clichés or contrivances. Mann’s script reveals his keen understanding of the criminal mind and his ability to weave a compelling narrative around it.
And that keen understanding is on full display in Heat‘s characters.
At the heart of Heat lies a clash between two titans: Robert De Niro as seasoned criminal mastermind Neil McCauley, and Al Pacino as relentless LAPD detective Vincent Hanna. Their performances are nothing short of mesmerizing, as they bring their respective characters to life with a raw authenticity that sets a new standard for the genre.
Fun fact: Heat can boast of having the first scene in a feature film where De Niro and Pacino appear together. And what a lesser director would have turned into a cheap publicity stunt, Mann pulls off with grace. That’s not just a feather in the film’s cap. It’s a crowning jewel.
De Niro’s McCauley is a man of few words, a disciplined professional whose meticulous planning and unwavering focus make him a force to be reckoned with. Pacino’s Hanna, on the other hand, is a charismatic and deeply flawed lawman, teetering on the edge of obsession in his pursuit of McCauley. Their on-screen chemistry is palpable, their interactions charged with tension arising from mutual respect. The dynamic between these two actors alone is worth the price of admission.
Supporting this stellar duo are a host of unforgettable characters, each with his own unique motivations and quirks. From Val Kilmer’s complex and troubled Chris Shiherlis to Ashley Judd’s anguished Charlene; from Tom Sizemore’s cool but high-time-preference Michael to Kevin Gage’s Waingro, the scumbag you love to hate, the supporting cast brings depth and humanity to a world often devoid of it.
And speaking of removing humanity, no discussion of Heat would be fit for publication without covering the film’s super crunchy action.
Heat features some of the most thrilling and realistic action sequences ever put on film. Mann’s exacting attention to detail shines in every heist, gunfight, and chase scene. The armored car robbery that opens the film is a masterclass in tension-building, executed with precision and flair. The scenes aren’t mere showcases or flashy set pieces; they serve to deepen our understanding of the characters, their choices, and the consequences that follow.
One particular highlight is a high-octane shootout on the streets of downtown Los Angeles. The combination of Mann’s inimitable visuals, the thunderous sound design, and the flawless editing creates an unmatched sense of immersion. The viewer is thrust into the chaos, experiencing the adrenaline-fueled desperation alongside the characters. It’s a sequence that will leave you breathless and yearning for more.
And that’s what takes Heat from “excellent” to “brilliant”: It incorporates exactly enough action to regulate tension and give catharsis: no more, no less. While other directors flirt with action fatigue, Mann sets a tension-to-release ratio that hits the sweet spot.
How does he do it? Simple, really. Mann understands that the best action serves theme.
Beneath its stylish exterior, Heat explores themes that transcend the confines of the crime genre. Mann delves into the notion of obsession and the toll it takes on those who succumb to it. Both McCauley and Hanna are consumed by their respective obsessions, and their pursuit of one another becomes a reflection of their inner turmoil. The film poses questions about the cost of one’s choices, the sacrifices made for personal codes, and the blurred lines between law and criminality.
Heat is a timeless monument to Michael Mann’s directorial prowess and the sheer talent of its cast. Its impact on the crime genre cannot be overstated. The film’s masterful storytelling, gripping performances, and exhilarating action sequences set a new standard for crime cinema that inspired countless filmmakers in its wake.
Because Heat is no surface-level crime thriller. It poses thought-provoking questions about the bonds of loyalty and the consequences of holding to a code, blurring the line between hunter and hunted. It’s a tour de force of crime cinema that has left an indelible mark on the genre. Michael Mann’s directorial brilliance, coupled with the powerhouse performances of its cast, elevates the film to the lofty heights of cinematic greatness. Its raw authenticity, gripping action sequences, and profound exploration of human nature make it a timeless classic that continues to captivate audiences to this day.
If you are a fan of crime films that push the boundaries of storytelling and immerse you in a deep world populated by complex characters, Heat is an absolute must-watch.
And if you want a similar experience, but with giant robots, read my hit mech thriller:
Mann is maybe my favorite cops-and-robbers filmmaker. It’s a shame that his switch to digital cinematography during the nascent period of the technology made his later films look too “video-y.”
Heat is one of those perfect movies where I never feel the long runtime. The pacing is impeccable. Mann knows exactly when to end a scene, never overstaying its welcome.
Here’s hoping he’s learned his lesson and doesn’t repeat the same mistakes on Heat 2.
Fun fact: the action and shootouts in Heat was so well done on a technical gun handling level, the Marine Corps shows it to recruits right before rifle training as an instructional tool
That makes sense. Michael finishes off an armored car guard with a double tap and a head shot. And Hanna is said outright to be an ex-Marine. It would be interesting to see if any Marines served as consultants on the film.
Apparently the main advisor for weapons handling was former British Special Forces. As far as its use as an instructional aid, one thing they also hone in on is Val Kilmer’s smooth reload of his rifle, swapping magazines in just few seconds which is the standard that riflemen should train to
That makes sense.
Also noteworthy is the takeover bank robbery’s rise to prominence in the early 90s. News footage of such crimes popularized by gangsters Robert Sheldon Brown and Donzell Lamar Thompson reportedly inspired Heat. Some say the movie then influenced the infamous North Hollywood Shootout. Art imitating life imitating art.
When we watched it for Cannon Cruisers we marveled at how a three hour movie can feel like it’s half as long. Truly a masterpiece of a movie.
I know some have complained that it felt as if Mann was equating good and evil and cops and robbers as one and the same, but I think the ending should lay those doubts to rest. The fact is that both of their choices and actions (the meat and potatoes of drama in a crime film) led them to where they ended up by the finale. The larger point was in how similar they truly were despite their vast differences and outlooks and how things might have gone differently for them in another life.
Truly fantastic movie, and easily the best film of 1995.
You’re right. Anyone who accuses this movie of moral ambiguity didn’t pay attention. Hanna’s speech to McCauley about all the victims whose murder cases he’s worked haunting his dreams puts paid to that theory.
There’s three scenes in Heat that define Vincent Hanna. First is when he’s talking to his soon-to-be-ex about the communication breakdown. “You wanna talk to me about my day, fine – ” and then the litany of atrocity he’s witnessed on a day to day basis. Second is when he’s holding back the prostitute’s mom “Don’t see her like this, don’t look”.
The third and most subtle yet powerful scene is when he walks into his bathroom and sees his daughter in the tub, the expression of absolute *horror* that spreads over his face.
Now the people who’d try to convince you that Hanna and and McCauley were the “same” – but McCauley doesn’t have it. If there’s a better McCauley, it’s long, long gone. Caring for a member of his gang (Chris) and his brief relationship with Edie, they’re not a tenth of what Hanna’s got going on. Do you think McCauley would have comforted a mother? Cared enough for a daughter to utterly collapse for that one critical moment? “Never have something you can’t walk away from,” and Neil McCauley never did.
It’s a peculiar movie. There’s something about the robbers being a kind of doomed band of brothers – a pack of hunter-gatherers – pitting themselves against the vast, crushing power of the state, itself with its own gang and champion. Two brotherhoods at war, one criminal, outnumbered and alone, the other with the infinite resources of the US government behind it, but when the chips are down it’s only men, sweat, and guns that matter, and in the end it’s one chieftain against the other in the night.
An extremely strange movie. You could say it’s an ancient story in a modern setting.
Worth also pointing out that Heat inspired the Payday series, which is a nice co-op experience with friends. Certainly goes in a more zany direction with it’s story, but I suppose a series that posits Jacket from Hotline Miami and John Wick exist in the same universe as Scarface can’t go in any other direction.