You know what the first thing I want to do as soon as I finish watching Michael Mann’s epic crime masterpiece Heat? Watch it again. Despite this film’s intricate storyline and lengthy running time, it never gets old. It never grows tired or forced. It’s sharp, on the edge, right where I like crime movies to be.
The way Pacino and De Niro move. De Niro moves slowly, with purpose, like a lone prey anticipating an attack. Pacino walks like a hunter. Eager for a kill.
The empty look on Val Kilmer’s face in his introductory scene.
Jon Voight and Robert De Niro’s interactions with each other. Even though they say little, it’s so clear that they’ve known each other for years.
This look. Such a badass.
“I’m sorry if the goddamn… chicken got… over… cooked.”
De Niro stepping out of Amy Brenneman’s way without looking at her.
The way Tom Noonan says “Congratulations,” after De Niro accepts the bank job.
Dennis Haysbert. We have no idea who his character is or what he has to do with the main storyline. Yet Michael Mann keeps cutting to him. Why? Why should we care? Why should we sympathize? It takes a great actor to be able to string the audience along for so long.
The sharp jump cut of Waingrow killing the prostitute to a bottle of beer being opened. Mann always knows exactly how much violence is enough.
“I gotta hold onto my angst. I preserve it, because I need it. Keeps me sharp [SNAP], on the edge [SNAP], where I gotta be.”
Danny Trejo’s succinct acceptance of taking on the risky bank job. “Yeah… sure.”
The scene in which the hunted becomes the hunter. It’s one of the best, most criminally overlooked scenes in the film. “I mean is this guy something or is he something? You know what they’re lookin’ at? Us. The LAPD. The po-lice department. We just got made.”
The most devastating scene in the film. “Yeah man, fuck it. You’re on.”
This look. Such a wiseass.
“Sit there don’t move let it bleed.”
The way Tom Sizemore opens both doors to the getaway car.
How it switches to slow motion right before De Niro begins shooting. The best shot in the film.
Also, the fact that De Niro decides to shoot directly through the windshield. Because, why not?
The many shots of Val Kilmer turning around and shooting at both sides. There’s a precision to Kilmer’s actions that feels so real.
The tracking shot of Pacino running up a ramp, flanking one of the robbers.
Pacino readjusting his shoulder right before he saves a child’s life.
Jeremy Piven and his hairline.
“You better get in there are stay in there.”
The way Pacino never says goodbye on the phone.
Pacino consoling a mortified Diane Venora.
The way Pacino looks at his pager in this scene, and tries to hide the fact that he has somewhere else to be.
The grainy DV shot of De Niro hitting Waingrow in the face.
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Top 22 Things I Love About Goodfellas (that no one else talks about)
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