The year of 1995 is my favorite year in film giving us so many beloved favorites of mine such as Lord of Illusions, The Usual Suspects, Seven, In The Mouth of Madness, GoldenEye, The Prophecy, Strange Days, and more. This year also gave us a brilliant union of powerhouse talents when Michael Mann brought together screen legends Al Pacino and Robert De Niro in Heat. While I consider Manhunter my favorite, and The Insider to be Mann’s best film, I cannot deny that Heat is a crime saga masterpiece. It is finally Michael Mann refined and matured to a breath-taking level developing his signature concepts to perfection. I can think of no more appropriate film to hold the honor of the 200th review on Forever Cinematic than Heat.
Neil McCauley (Robert De Niro) is a master thief who lives by the simple discipline of “have nothing in your life you are not willing to walk out on in 30 seconds flat if you feel the “heat” around the corner.” His crew of career criminals is a high-tech outfit pulling off professional jobs that impress even the likes of Detective Vincent Hanna (Al Pacino). But Hanna, a man driven through life only by his work, becomes obsessed, at the expense of his private life, with bringing McCauley down. As McCauley’s crew prepare for the score of a lifetime, and Hanna’s team tries to bring him in, the two find that they are similar in many ways, including their troubled personal lives. Ultimately, they find themselves challenged by the greatest minds on the opposite side of the law that either one has ever encountered. With this much heat, the streets of Los Angeles are ready to sizzle and explode!
Heat is filled with excellent performances from everyone involved that it’s hard not to touch upon most of them. Firstly, I am engrossed by the dynamic between Vincent Hanna and Neil McCauley. Hanna is a man whose life is wholly dedicated to his job, and thus, his home life is a disaster with multiple divorces to show for it. Meanwhile, McCauley has his life in control as he takes precision high line scores, but lives a disparate life of bare necessities allowing himself no attachments he cannot walk out on in thirty seconds flat if circumstances require it. Thus, despite these men being on opposite sides of the law, they find themselves in a near symbiotic relationship which fuels the compulsions of their lives. They are both driven by their jobs being out there on the streets in the middle of danger, and everything else in their lives is sacrificed for that. All they are is what they’re going after. That’s what fuels their existences, and Heat is all about that electrifying synergy.
Al Pacino has always been known as a passionate, charismatic actor, and Vincent Hanna surely has that energetic, sharp edge which makes him immensely entertaining here. However, it is the more subtle aspects of the performance that are where the real juice is. You see the razor sharp mind of Hanna when he arrives on the armored car robbery scene. He sees it, absorbs it, and hits all the marks deconstructing every detail of the crime. He doesn’t miss a beat, doesn’t overlook or dismiss anything. You see the proficiency of Neil McCauley and how his crew operates, and then, you see Hanna and his team operate on that same exact level only on the opposite side of that coin. Yet, the depth of Hanna comes to the surface when Vincent converses with his wife, Justine. The weariness and ugliness of his job forces an emotional rift between them, and Pacino’s performance reflects the inner angst and emotional toll that it wreaks on Hanna. These things do affect him, but he never becomes a jaded, pessimistic, desensitized person. Al Pacino absorbs all of that into a subtle and complex performance that energizes the screen.
And delivering a performance on an equal level of weight and intelligence is Robert De Niro. He’s entirely formidable making Neil McCauley a very serious and definitive threat to everyone who opposes him. De Niro has a serious, hard edged presence that dominates the screen, and every move, every word, every course of action he makes is efficient. There’s a full immersion into the character in all his nuances and textures. Sometimes, a great performance is seen in raw emotion, but other times, it’s all in the subtle complexities. That is what De Niro give us here showing the versatile diversity of this character from cold, hard criminal to the loyal, caring friend and lover. Despite being the antagonist in the story, we see a real heart when Neil becomes involved with Eady. It’s takes a masterful actor and filmmaker to take a character like McCauley who will sanction and be entirely sociopathic about the murder of innocent people, and do something so human with him to where you genuinely feel his depth of heart. Surely, that’s nothing you would want translated into reality, but in a fictional narrative, it provides a captivating dimensionality that Robert De Niro captures with pitch perfect substance.
Val Kilmer was really in his peak at this time after his stunning turn as Doc Holliday in Tombstone. Thus, he was filming Heat concurrently with Batman Forever, really capitalizing on two excellent opportunities. Here, his role might be overlooked by the presence of Pacino and De Niro, but that doesn’t mean he isn’t top notch. Chris Shiherlis proves to be a really intense character with his gambling addiction and marital strives, and Kilmer really absorbs the weary heart of Chris deeply into his performance. Despite infidelities on the part of Chris and his wife Charlene, portrayed tremendously by Ashley Judd, their final shared moment strikes deep within the heart to show just how much they both truly loved one another, but their marriage was never built to last. Kilmer hits all the marks to make this character standout solidly alongside De Niro, and to a lesser extent, Tom Sizemore does the same as the more action junkie sociopath Michael Cheritto. There’s a real strong brotherhood between Neil and Chris that shows through shiningly, and that relationship brings a lot of dimension to both characters.
I’m fascinated by the chain reaction of events here which create numerous exciting plot turns. Essentially, Waingro is the key cog who sets everything in motion. Without him going off the handle and facilitating the triple homicide, Vincent Hanna likely would not have been as dogged to track down McCauley and his crew. He’d be intrigued by the precision professionals, but it would just be another robbery. Then, Waingro betrays McCauley to his enemies, forcing the bank heist to turn into a violent, deadly shootout and propelling McCauley to make the irrational decision to go after him instead of escaping free and clear. Waingro turns the tide of the story at pivotal moments because he is a wild card with no loyalty to anyone but his own base, primal impulses. Furthermore, Kevin Gage is perfect in this role making for a wholly convincing hardened ex-convict sociopath who is dreadfully frightening and intimidating. It’s sadly poetic that less than a decade later he would become a federal convict for cultivating medicinal marijuana.
The other intriguing quality of Heat are the women. Michael Mann always makes the affectionate, strong women of his films vitally important to the arcs and stories of the male leads, and never objectifies them. The significant others of Hanna, McCauley, and Shiherlis are all passionate, loving women who desire a stable life. Justine Hanna grapples with Vincent’s internalized angst from the horrors he sees out on those streets, and just wants a husband who opens up to her instead of being distant, closed off, and vacant in their marriage. She wants a marriage with love not ragged leftovers of a man who drifts through their lives empty. Eady, portrayed by Amy Brenneman, is the most innocent of them all existing entirely outside the world of cops and criminals. She’s a simple, honest, warm person that unexpectedly opens up Neil’s world and gives him something to be affectionate about. For a man who lives with no attachments of any kind, it’s finally someone in his life that makes him care to have a life. Charlene, however, is the real gold for me as Ashley Judd is confident, heartbreaking and truly empathic as Chris’ wife. As I said, there is a deep down, genuine love between Chris and Charlene, but there’s so much addictive and combative garbage in the way that it was destined to crumble. For me, the Shiherlis dynamic is the most complex and substantive one of the film because of that real quality of conflict and adoration between them.
Without a doubt, Danté Spinotti is a remarkable cinematographer, and he does an excellent, stunning job with Heat. He composes so many carefully selected shots which tell a very visual story that holds weight. Just as Mann had fully refined and developed his artistic sensibilities so had Spinotti making this a very sophisticated looking and composed picture. There are pure moments of inspired artistry creating a masterful canvas that this story is told upon. This is also a film that feels very engrained and engrossed in the fiber of Los Angeles because of the visual vibe. Shots of the skyline in hazy daylight or glowing nighttime neo noir create that great backdrop that has substance and life.
Upon this watch of the movie, I picked up far more on Elliott Goldenthal’s amazingly original and pulsating score. A lot of what he does are subtle textures and melodies that nicely underscore various scenes. His score doesn’t fight for dominance in the audio mix. It complements everything that Mann is doing with the emotion, characters, and story. At times, Goldenthal’s score can be very powerful and striking such as the moment where Chris and Charlene are forced to abandon each other because of the police stakeout. The emotional pain swells into the score in a haunting swirl. Then, there’s the parting phone call between Neil and Nate that reflects the sorrowful feeling of two people, best of friends, saying goodbye for the final time, and Goldenthal’s score hits that mark so beautifully. Every single moment is so perfectly punctuated, and should be considered amongst his best work. Additionally, the two tracks by Moby are beautiful, superb, innovative tracks that saturate the power of their respective scenes, most notably being the ending with “God Moving Over The Face of The Waters.”
Of course, the big, electrifying selling point of this film was having two of America’s most celebrated actors, Al Pacino and Robert De Niro, collide in all their glory. That would not be complete without the excellent diner scene where Vincent Hanna and Neil McCauley have a very probing conversation. The very interesting quality of that scene is that this is the only point in time where these two men are able to be entirely open, honest, and reveal their inner workings. They are more intimately connected with each other than with anyone else in their lives. Again, the subtle performances of depth and honesty make this the absolute nexus of this entire film. Heat was previously made as a TV movie called L.A. Takedown by Michael Mann, and when you watch this scene performed by very second rate, stiff or hollow actors with almost identical dialogue, you realize the gold standard quality of Pacino and De Niro. In their hands, Vincent Hanna and Neil McCauley are brilliantly fleshed out and fascinating characters, and this is the scene that shows them stripped down. They show what haunts them and what drives them. There is no pretense between these men, and they realize that they are very similar despite being the flip side of each other. These are the only two people alike in this world of Michael Mann’s film that truly, undeniably understand one another. Furthermore, this scene is entirely integral to how the film’s climax unfolds.
Firstly, that shootout in the streets of downtown Los Angeles is one of the most ear-blistering sonic experiences ever, and that’s coming from a heavy metal fan. Michael Mann had considered using post-production sound effects for this, but realized that the realistic production audio created the true power and impact he wanted. It conveys the violent magnitude of real life gunfire and enhanced the danger of this sequence exponentially. The precision of every tactic is true to how Michael Mann approached his films. He made sure that every detail was accurate to life, and that mentality makes his films far more interesting to witness than the more over-the-top action sequences we get in the big, fun blockbusters.
The climax of Heat narrows everything down to what the whole film has been about at its core – Vincent Hanna and Neil McCauley. These two men, who exist in a world separated from the mainstream of society and defined by its own rules, are now pitted against one another in an electrifying, tense, and suspenseful cat and mouse sequence that is absolutely pitch perfect, and showcases the unequivocal skill of Michael Mann. The moment where McCauley sees Hanna just as he is to ride off with Eady is beautiful, painful, and eloquent. Neil invokes his “thirty seconds flat” rule turning away from Eady for his own survival, and the ensuing chase towards LAX is wonderfully and smartly plotted. The climactic moment is excellent and poetic. Then, after it’s all over, these two men are bonded together in a strikingly profound moment that ends the film on an astonishing stroke of pure brilliance.
I had always taken Heat for granted as that great crime saga pinnacle for Michael Mann, but until now, I never peered deeply enough into it to see the subtle brilliance of it. Many of his films are easier to see the inspired breadth and depth, but Heat has so many fine brush strokes of detail, interwoven threads, and subtext that only a real immersion into it made me absorb it all. This is truly a brilliantly written, directed, and acted film that did not get the recognition it deserved during awards season. Michael Mann himself received no nominations for his screenplay or directing, and Pacino, De Niro, or Kilmer received no acting award nominations either. It’s amazing to me that so many incredible, mold breaking, and standard setting films were released this year, and those I hold in highest regard barely got any recognition from any major awards organizations. This is why I find it hard to put much weight into these organizations because they’d rather nominate a movie about a talking animatronic pig over brilliant masterpieces like Heat, Strange Days, The Usual Suspects, or Seven for Best Picture or Best Director. Today, nobody talks about Babe, but people still endlessly praise those others films because they launched careers, took stunning risks, set new standards, and blew peoples’ minds. And when Michael Mann finally got his just nominations, he didn’t win a single one for what no one will ever be able to tell me wasn’t the best movie released in the year 1999 – The Insider. However, for the next review, I go back to the beginning of Michael Mann’s feature film career with Thief.
Based on the book by Andrew Neiderman, The Devil’s Advocate is an amazing supernatural horror film with a depth of strong thematic material. The screenplay, adapted by Jonathan Lemkin and Tony Gilroy, is executed with extraordinary artistic skill by director Taylor Hackford.
Kevin Lomax (Keanu Reeves) is a ruthless young Florida attorney that never lost a case that is recruited by the most powerful law firm in the world. In spite of his mother’s disagreement, which compares New York City to Babylon, he and his beautiful wife Mary Ann (Charlize Theron) accept the offer and the money that comes along with it. The firm’s senior partner, John Milton (Al Pacino), sees something very special in Kevin, and showers him with wealth and feeds his vanity. However, Mary Ann just wants to have a baby, and becomes distressed by Kevin always being on a case and never at home. A multiple murder case for reviled businessman Alex Cullen (Craig T. Nelson) tears them further apart as Kevin won’t leave the case for fear of hating Mary Ann for doing so. Feeling homesick, she witnesses horrifying apparitions, and starts to lose her grip on reality – or so it seems. As Kevin is lured deeper into a treacherous well of unholy evil and seduction, he will come to learn a startling truth that could claim his very soul.
Director Taylor Hackford delivers a very fascinating film where there is always something more subversive occurring beneath the surface. The courtroom and law scenes are never just proceedings, but a test of morality and conscience in a bigger picture. There is a strong sense that there is something larger at stake with everything that is going on. The audience can always feel a supernatural, sullen presence presiding over nearly everything in the film. This is achieved in many ways from the atmospheric lighting in key scenes to the shady religious themes to John Milton’s skillful seduction. The film does use a generous amount of religious context to massively profound effect. People are consumed by their own sins, and are given the means to embrace them without consequence, as long as they have no consciences to worry about. This is where tying this story directly into the world of defense attorneys and a shady law firm is brilliant. They are people dedicated to clearing offenders of guilt, regardless of whether or not they are guilty. For these characters, that requires a certain absence of conscience, and a dedication to deception, which are strongly prevalent themes in this film.
The moral corruption in the film is magnificently showcased through Mary Ann. She is a very wholesome woman who is thrust into a world of amoral people. They are pretentious, arrogant people that severely test Mary Ann’s psychological and moral resolve. She clearly is not comfortable around them, which is best displayed during and after the party scene, and just being around them begins to decay her mental stability. As she and Kevin are further driven apart, she gets worse and worse where the nightmares and isolation psychologically break her down, but that is ultimately not the worst of it. Kevin is corrupted differently as John Milton gives him the opportunities to feed his competitive edge and then some.
As I’ve mentioned many times before, I really do like Keanu Reeves. He’s a better quality actor than many give him credit for. This performance is a fine example. I like the dichotomy that Kevin is a very confident and in control person when he’s being a lawyer, but he sacrifices the stability and health of his marriage for it. He is so deeply ensnared into Milton’s charismatic web of temptation and power that he cannot perceive the moral destruction of his life. Reeves takes Kevin from those humble roots of a defense attorney who still has some conscience left to one who abandons it all for greater pleasure and glory. He loved his wife dearly, but ultimately, he is turned against her as they both deteriorate in this “Babylon.” Reeves shows early on that there is a humanity within Kevin, despite the unsavory things he does to secure a win, and that carries with an audience throughout the picture. As he’s corrupted further in New York, he never becomes a bad guy to the audience. We can see what’s happening to Kevin while he does indulge in the thrill of victory and hedonism alongside Milton. This is also partially due to being intrigued by John Milton’s mystique, the same as Kevin. We’re both following Milton down this dark path of temptation, and we cannot turn away from it. Emotionally, Reeves can be intense with one scene showing a horrifying outpour of grief and horror. Going into the climax, he delivers chilling conviction that ramps up the dramatic power of the film. Beyond anything else, Keanu Reeves also solidly and consistently pulls off that southern accent.
Al Pacino is absolutely amazing in this film. He indulges full boar into the hedonism and charisma of this role. It’s great seeing him cut loose, but he plays it very smartly, only letting the full measure out at the right times. Milton is definitely a tempter, a guy who opens the door, but never closes it behind you. He allows you to dig your own grave. He never seals your fate for you. Milton gives Kevin plenty of chances to back out, to walk away from the Cullen case to take care of Mary Ann, but he never takes it. He manipulates no one into doing anything they don’t want to do. He seduces your desires to the surface. The film smartly and slowly las the seeds of knowledge that Milton is more than he appears to be. There’s an unspoken power he has that gradually manifests in more and more dramatic ways as the film goes on. At a certain point, who and what he is becomes undeniable. Pacino’s performance is brilliant and vibrant. The scenes between him and Reeves are the real meat of the film, and they are a powerful pairing that do make this film excell in many ways.
Charlize Theron takes a powerfully emotional journey from that sweet, wholesome, and spirited small town woman to a horribly traumatized and vulnerable one. Mary Ann might’ve been a young lady to contend with in her small Florida town, but in New York, she is entirely overwhelmed by everything. She is incredible, and very brave for embracing the challenging demands of this role. She takes her performance into frighteningly dark places that she should be commended for. This is definitely an early breakout role for her, and it shows the incredible talent she possesses. Theron and Reeves have great chemistry, and are so deeply convincing from the passionate, happy couple to the terribly turbulent and fractured one.
The supporting cast has some solid performances from Jeffrey Jones as the gluttonous, arrogant, and abrasive firm partner Eddie Barzoon, Connie Nielsen as the intriguing and somewhat exotic Christabella, Craig T. Nelson putting in a heavyweight performance as the ruthless real estate developer Alex Cullen, and even a small role by Delroy Lindo as the goat sacrificing Phillipe Moyez, who has a dark mystique and implied supernatural power. This is a fantastically assembled cast in every single aspect, from even the smallest role all the way to the leads.
It should be no surprise that the stirring, ominous, and moody score is the work of James Newton Howard. It certainly has some gothic and choral elements giving the film a darkly cathedral sound. It is plenty haunting, especially going into the third act when everything becomes very wicked and surreal. It’s overall a striking and potent work that regularly maintains that unsettling and foreboding supernatural tone I mentioned before.
The film is also so damn well shot. The cinematography gives the film such scope and foreboding atmosphere. It brings profound grandeur and artistry to the thematic weight of the story. While Andrzej Bartkowiak hasn’t shot much worth noting, he does a remarkable job on this film teamed with director Taylor Hackford. That cinematography shows off the cultured and artistically modern, for the time, production designs. John Milton’s office and especially penthouse home are designed with gorgeous vision by Bruno Rubeo. The location shooting shows off the deep character of the city of New York. The filmmakers even secured the golden apartment of Donald Trump for that of Alex Cullen. This authenticity adds so much depth of detail to the film.
The Devil’s Advocate is definitely filled with an array of chilling images and grisly moments. These are all handled with immense weight and artistry. Digital effects are used greatly morphing one person’s face, subtly, into a demonic visage, or haunting Mary Ann with other surreal sights. The climax has some ambitious CGI between the morphing piece of artwork and the explosive fiery effects. However, the best moments of horror are more practical and psychologically based. They tap into the unholy evil that looms over everyone twisting peoples’ lives into a tangled web of destruction, and it creates thick tension and taut suspense. Something fearful has befallen their lives, and it is corrupting in ways they cannot comprehend. This is all masterfully and intelligently crafted with a strong atmosphere that is like the rumbling of thunder on the horizon. A dark storm is coming that none of them are prepared for, let alone can see.
The Devil’s Advocate has an amazing and stunning finale punctuated gloriously over the end credits by the Rolling Stones’ “Paint it Black.” This really is a magnificently conceived and executed film. Backed by an immensely talented cast, this delivers strongly with strong thematic material and brilliantly realized imagery that chills and frightens. Aside from some CGI that might not measure up to modern standards, there is nothing negative I can say about this film. While the 90s where not the best decade for horror, this is certainly one of smartest and most dimensional horror films of that decade which brought us The Exorcist III, New Nightmare, Lord of Illusions, In The Mouth of Madness, and Scream.