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The story I read was they had a huge finale setpiece (which was going to be a big assault on the dealer's city/villa) all ready to shoot, when the country they were set to shoot in basically had a civil war break out and it was too unsafe to stay there. They literally had to leave all the sets and stuff behind like 1-2 weeks before they were set to film, and threw together the shootout at the docks super quickly to try to salvage an ending for the movie. It's unfortunate because if they'd been able to do it as shot, it could've been up there with his best work, but as has been said, the movie kind of peter's out towards the end.
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Apr 9, 2016 20:04
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That's a good point I hadn't thought about before. In what universe is Pacino's character able to afford THAT house on a cop salary
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Apr 10, 2016 04:39
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In a career of great films, The Insider is his masterpiece. And ya, the soundtrack is great. His use of Massive Attack for the ending has always been one of my favorite "gently caress ya" moments: https://www.youtube.com/watch?v=jEIMNeHyAio
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Apr 12, 2016 08:27
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The crazy thing with Thief is how loving good it looks. I re-watched Heat afterwards, and it manages to look kinda drab by comparison. It's absolutely crazy how good he was right out of the gate, with his style and themes already fully formed.
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Apr 14, 2016 07:23
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Like I said earlier, re-watching it after watching Thief for the first time, it's surprising how much less interesting Heat is visually, given it was 15 years later. I still love the movie, but it must be said, the first hour of Heat doesn't hold up particularly well. All the stuff with Natalie Portman is cringy as gently caress, De Niro's romance is pretty weak and only exists to setup the ending. I'd say from the shootout with William Fichtner's people onwards the movie is truly great though.
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Apr 24, 2016 03:10
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And that 3rd act is probably the best part of the whole story. The notion that a corporate wing of a major news organization would shut down a story was unthinkable at the time. Insider rules.
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May 15, 2016 21:20
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HUNDU THE BEAST GOD posted:That's a great theory, and Flashdance is really not that different from Days of Thunder or Top Gun. It's an interesting idea, but I think Beverly Hills Cop and then Lethal Weapon in 87 were much more influential and the blueprint being followed. This is re-iterated by the fact that Tony Scott did Beverly Hills Cop 2 and then Last Boyscout, which were obviously descendants of the former 2, and Michael Bay's whole aesthetic was ripped off from Scott, so I think that's a much cleaner through-line. Plus To Live and Die in LA is way too weird and abstract for anyone to have used it as a formula, at least until you get into more modern stuff like Drive.
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May 25, 2016 05:52
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