Word: niro
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...episodic format of the movie, loosely following Travis's readings from a journal he keeps, allows us to trace not only Travis's actions, but also the world he deals with so poorly. Young and charming, giving no indication of his inner turmoil, De Niro's Travis enters the senator's campaign office to proclaim with boyish impetuousness that Betsy is the most beautiful person has ever seen. Yet even here warning signs lurk, as in the way he carefully details exactly what he and Betsy have on their little coffee shop date. Travis's bizarre hypocrisy emerges when...
...HEAT Who will be prince of this soulless city--Robert De Niro's fastidious criminal or Al Pacino's emotionally erratic cop? In the end it doesn't much matter. Their job is to lend familiar dramatic tonalities to Michael Mann's brilliant, jarring, amoral expansion of and meditation on the violent themes running through postmodernist life...
NEIL MCCAULEY (ROBERT DE Niro) is an orderly and calculating man. Like many entrepreneurs managing small, risky businesses, he has put the rest of his life on hold lest emotional distractions disrupt more profitable pursuits. Though that business consists of planning and executing complex, high-stakes robberies, the man is actually as risk averse as an actuary, and about as romantic...
...best armored-car robbery ever placed on film. He proceeds to a crazily orchestrated bank heist that goes awry and finishes in a wild firefight on a crowded downtown street that is a masterpiece of sustained invention. He ends with a chase that takes Pacino and De Niro into wholly original realms of hellishness, the back end of an airport, where their passions are nearly drowned out by the thunderous comings and goings of heedless flight...
Neil McCauley (Robert de Niro) is an orderly and calculating bank robber. Vincent Hanna (Al Pacino) is a disorderly and incautious Los Angeles cop on McCauley's trail. "Dispassion vs. passion, intellect vs. instinct, the implosive vs. the explosive style. As writer-director Michael Mann develops the duel between this cop and this robber in 'Heat', his film becomes a compassionate contemplation of the two most basic ways of being male and workaholic in modern America," says TIME's Richard Schickel. With what may be the best armored-car robbery ever placed on film, Schickel notes Mann is seeking...