Heat (1995) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error A group of professional bank robbers start to feel the heat from police when they unknowingly leave a clue at their latest heist. Director: From $13.99 (HD) on Amazon Video ON DISC a list of 37 titles created 26 Nov 2012 a list of 37 titles created 12 May 2013 a list of 31 titles created 26 Jul 2013 a list of 46 titles created 25 May 2014 a list of 33 titles created 03 Jan 2015 Search for " Heat " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin.

Greed, deception, money, power, and murder occur between two best friends, a mafia underboss and a casino owner, for a trophy wife over a gambling empire. Director: Martin Scorsese In Miami in 1980, a determined Cuban immigrant takes over a drug cartel and succumbs to greed. Director: Brian De Palma As corruption grows in 1950s LA, three policemen - one strait-laced, one brutal, and one sleazy - investigate a series of murders with their own brand of justice. Director: Curtis Hanson Henry Hill and his friends work their way up through the mob hierarchy. Director: Martin Scorsese Unscrupulous boxing promoters, violent bookmakers, a Russian gangster, incompetent amateur robbers, and supposedly Jewish jewelers fight to track down a priceless stolen diamond. Director: Guy Ritchie A mentally unstable Vietnam War veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process.

Director: Martin Scorsese A sole survivor tells of the twisty events leading up to a horrific gun battle on a boat, which begin when five criminals meet at a seemingly random police lineup. Director: Bryan Singer An undercover cop and a mole in the police attempt to identify each other while infiltrating an Irish gang in South Boston. Director: Martin Scorsese Two detectives, a rookie and a veteran, hunt a serial killer who uses the seven deadly sins as his modus operandi. Director: David Fincher A botched card game in London triggers four friends, thugs, weed-growers, hard gangsters, loan sharks and debt collectors to collide with each other in a series of unexpected events, all for the sake of weed, cash and two antique shotguns. Director: Guy Ritchie After a simple jewelry heist goes terribly wrong, the surviving criminals begin to suspect that one of them is a police informant. Director: Quentin Tarantino Disgruntled Korean War veteran Walt Kowalski sets out to reform his neighbor, a Hmong teenager who tried to steal Kowalski's prized possession: a 1972 Gran Torino.

Director: Clint Eastwood Edit Storyline Hunters and their prey--Neil and his professional criminal crew hunt to score big money targets (banks, vaults, armored cars) and are, in turn, hunted by Lt. Vincent Hanna and his team of cops in the Robbery/Homicide police division. A botched job puts Hanna onto their trail while they regroup and try to put together one last big 'retirement' score. Neil and Vincent are similar in many ways, including their troubled personal lives. At a crucial moment in his life, Neil disobeys the dictum taught to him long ago by his criminal mentor--'Never have anything in your life that you can't walk out on in thirty seconds flat, if you spot the heat coming around the corner'--as he falls in love. Thus the stage is set for the suspenseful ending....

Written by Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu> A Los Angeles Crime Saga Genres: Rated R for violence and language | See all certifications » Parents Guide: 15 December 1995 (USA) See more » Also Known As: Fuego contra fuego See more » Filming Locations: Justine was called Lillian in the original film: L.A. Takedown (1989). See more » Goofs When Vincent returns home before seeing his wife putting on makeup, Vincent looks at the dirty dishes in the sink, where we see a dirty plate in the left sink, and a wok with dirty dishes in it in the right sink. After Vincent comes back downstairs ("Okay, where are YOU goin'?), there are no dishes in the left sink and the dishes that were inside the wok in the right sink are gone.

See more » Quotes Written by Steve Roach and Elmar Schulte Performed by Solitaire See more » Frequently Asked Questions One of the best films of the 90's 17 January 2005 | by eddieknocker (United Kingdom) – See all my reviews I am assuming I am commenting on this film for those who have not seen this film and for those people I pity you. Its a crime thriller. Won't describe the story as its not particularly original and not the best thing about this film. You've got Pacino and Deniro on screen in a film for the first and possibly last time which should be recommendation enough. You've also got director Michael Mann at the top of his game. An awesome supporting cast firing on all cylinders. Arguably the best "shoot-out" in any film - ever. What more do you want??? It's a long film but there is not one wasted scene in it. Even the incidental story lines - for example, the recently paroled ex-cell mate of Deniro whose first job is in a "grill" working for a nasty, exploitative boss and then ends-up as a stand-in getaway driver for Deniros crew. It just adds weight to the whole film.

All the domestic dramas of the good-guys and the bad-guys that you wouldn't get in the typical cops and robbers film are shown in loving detail and nothing is rushed. Just makes it a more satisfying and involving film. Mann who started his career on Miami Vice almost seems to be taking a trip back to the eighties with the soundtrack and styling of the film - almost but not quite. If you still don't want to see the film after this then what the hell's wrong with you?! Sit back and enjoy. Also - no. 247 in the top 250?? Whats up with that??? 169 of 241 people found this review helpful. Was this review helpful to you? Yes Al Pacino and Robert De Niro make quite a pair - SFGate Al Pacino and Robert De Niro make quite a pair By Ruthe Stein Published 3:56 pm, Wednesday, January 14, 2015 When “Heat” opened in 1995, it was advertised as the first time Al Pacino and Robert De Niro share screen time. But that is not exactly true.

They appear on the big screen at the same time in “The Godfather Part II” — even though De Niro plays Pacino’s father as a young man. Francis Ford Coppola accomplishes this feat by dissolving a scene of Pacino as Michael Corleone into the following scene, set more than 40 years earlier, of De Niro as Vito Corleone. For a moment these protean actors appear in the same frame, both remarkably still, as if posing for a dual portrait. “The Godfather” saga would make stars out of these actors. Pacino, an Oscar nominee for the first two films (unbelievably, he did not win either time), was compelling and scary portraying Michael’s hardening personality. His face seems to almost crack. De Niro, who won a best supporting actor Oscar, showed audiences how the young Vito found the power within himself to intimidate people. Their association with “Godfather II” is one reason Pacino and De Niro stay linked. Their Italian heritage and close ages — Pacino is 74; De Niro, 71 — are other grounds.

But, above all, it is the intensity of the acting they have brought to movies in the 40 years since they burned up the screen as the Corleones. The first thing to be said about them is that both are still making movies while contemporaries such as Warren Beatty, Harvey Keitel and James Caan have essentially disappeared. Pacino’s new movie, “The Humbling,” an adaption of a Philip Roth novel in which Pacino plays a fading actor having an affair with a lesbian, opens Friday, Jan. 23. In “Manglehorn,” due out later in the year, he portrays a small-town locksmith with a broken heart. Meanwhile, the tireless De Niro has had the busiest year of his career, with three films completed and three more in pre-production. Post “Godfather,” De Niro’s track record has been astonishing. He appeared in rapid succession in “Taxi Driver,” “The Deer Hunter,” “Raging Bull” (for which he won his second Oscar), “The King of Comedy,” “Midnight Run, “GoodFellas” and “Casino,” along with several lesser but perfectly respectable films. Pacino during those same years can’t compete.

For every “Dog Day Afternoon” or “Scarface,” there was a “Bobby Deerfield” or “Author! Author!” Even Pacino’s biggest fans surely admit that “Scent of a Woman,” for which he finally won an Oscar after seven nominations, is a minor work that highlights his inclination to overact. Recall him bellowing “Hoooah!” A new century appears to have revitalized Pacino, who is admirably creative in several media while De Niro keeps grinding out movies. The numbers tell the story: He has made 103 films over his career, while Pacino clocks in with a mere 51. There’s a feeling that De Niro has diluted his brand by signing on for straight-to-DVD movies such as “Freelancers” and “Killing Season.” Last year, he and Sylvester Stallone appeared in “Grudge Match” looking rather pathetic as aging boxers going into the ring together one more time.

“De Niro seems to have decided to become a businessman — someone who is interested in doing (movies) for the money he can make,” said San Francisco film historian David Thomson, author of “Moments That Made the Movies’’ and “Why Acting Matters.” “He has also developed as a real businessman, and I think making money has become very, very important to him.” (De Niro’s commercial ventures include substantial real estate investments in Tribeca. He owns the theater housing the Tribeca Film Festival, which he helped start in 2002.) “The boldness and ambition of the first half of his career has receded, and he has made year after year of uninteresting films.” Exceptions, of course, are De Niro’s back-to-back films for David O. Russell, “Silver Linings Playbook,” for which he got his first Oscar nod in 25 years, and “American Hustle,” in which he plays a small role as a gangster. “He shows he can still be very, very frightening,” Thomson said.

Shawn Levy, former Oregonian film critic and author of the new biography “De Niro: A Life,” says his subject no longer seems to have the ambition to anchor a film. A tipping point “He just shows up at the Ritz-Carlton in Vancouver for a week and does what he is supposed to do,” Levy said, and the producers get what they want: “His name on the marquee and the video box. But I think there is a tipping point.” Pacino, meanwhile, rebounded from a lackluster period to really seize the day. He returned to his first love, the New York stage, doing Mamet, O’Neill and Shakespeare. His Shylock in 2010 was much acclaimed and an impressive Broadway hit. Early on, Pacino recognized premium TV’s ability to offer the kind of substantive roles that Hollywood, obsessed with franchises, no longer shows interest in. He appeared on HBO as Roy Cohn, Dr. Jack Kevorkian and Phil Spector, picking up two Emmys in the process. A fascinating aspect of Pacino’s latter career — revealing his artistry — is his penchant for quixotic projects.

Far from raking in riches, they have cost him millions, but he is never more alive than when he talks about them. He directed two documentaries: “Looking for Richard,” about his staging of “Richard III,” and a compelling case for Shakespeare’s relevance in everyday life, and “Wilde Salome,” featuring him as King Herod to Jessica Chastain’s Salome. (Although rarely seen, “Salome” played at the Castro Theatre in 2012 as a benefit for the GLBT Historical Society.) Pacino is also obsessed with a small indie he financed in 1990 called “The Local Stigmatic,” in which he plays a British hooligan preoccupied with celebrity who terrorizes a well-known actor he meets in a bar. Doing the unexpected “He has always had this capacity for doing the very unexpected, and this is a very strange film,” Thomson said. “It never got a theatrical release, but he regards it as most precious. For a long time, the only way to see it is if he showed it to you. He used to carry a print around with him. When he came to San Francisco, I was one of two or three people he showed it to.

It is not very good, in my opinion, but you feel respect for him for being so committed to a thing like that. He has a deep, burning creative ambition, and I love him for that.” “The Local Stigmatic” has become available in the box set “Pacino: An Actor’s Vision,” which includes a couple of his other unknown works and a documentary in which he talks at length about his career. His desire to be understood sets him apart from De Niro, a famously terrible interview who seems pained by the process. “De Niro has always been that way,” Levy said. “He is genuinely uncomfortable talking about himself, and then he found that if you stick to that, people won’t bother you.” Levy said that De Niro and Pacino are friends, but living on different coasts, they probably don’t get together often. Their appearances on a screen together are indeed rare. It happened in the 1995 “Heat,” where Pacino plays a detective on the trail of bad guy De Niro. But director Michael Mann only gave them two scenes together. In the meatier one, the opponents meet in a coffee shop and carefully size each other up. “It is a lovely scene but very implausible.

I don’t believe those two would have sat down like that for a cup of coffee. I think De Niro wins the scene in terms of acting. I think he understands his part more than Pacino does,” Thomson observes. The next time the two emerge is in “Righteous Kill” (2008), generally considered a major disappointment. Still, the movie is worthwhile simply to see them nail their roles as longtime partners on the NYPD chasing a serial killer. Word has circulated for years that De Niro and Pacino would co-star in “The Irishman,” based on a book about a two-bit gangster who confesses to killing Jimmy Hoffa. The movie sounds even more irresistible knowing that Joe Pesci would have a role and Martin Scorsese would direct. De Niro, reported to play the gangster, has said, “I’d never say it if I didn’t really fully have us all, you know, committed.” Clock is ticking But Levy has doubts about the film coming to fruition. He points out that Scorsese is making a movie in Japan, and he works slowly and painstakingly.

With “all these guys hitting their 70s now,” the clock is ticking on how many more films they have in them. Neither De Niro nor Pacino, two fine Italian Americans, need “The Irishman” to ensure their legacy. Ruthe Stein is The San Francisco Chronicle’s movie correspondent. E-mail sadolpson@sfchronicle.com . The Humbling (R) opens Friday, Jan. 23, at Bay Area theaters. To see a trailer, go to . Latest from the SFGATE homepage: Click below for the top news from around the Bay Area and beyond. Sign up for our newsletters to be the first to learn about breaking news and more. Go to 'Sign In' and 'Manage Profile' at the top of the page. De Niro and Pacino Star in a Film. Together. - NYTimes.com De Niro and Pacino Star in a Film. Together. By BERNARD WEINRAUB Published: July 27, 1995 HOLLYWOOD, July 26— For years, Robert De Niro and Al Pacino have met at parties and restaurants and pledged to find a project suitable for both of them.

"We used to get together and talk about doing something," said Mr. De Niro. "Nothing panned out." Until now. Two of the most formidable stars of the last two decades are appearing together in "Heat," a sprawling police and gang story set in Los Angeles and written and directed by Michael Mann, who produced, directed and was a writer of "The Last of the Mohicans" and was the executive producer of the television series "Miami Vice" and "Crime Story." "Heat," which has been filming for weeks in Los Angeles and is to be released later this year or in early 1996, is about a driven detective (played by Mr. Pacino) in the Los Angeles Police Department's robbery and homicide division and his hunt for a cold and deadly professional thief (Mr. De Niro), who has spent most of his life in prison and is determined never to return there. What sets the movie apart from many others with similar themes is the density of its plot, a web of betrayals and vendettas and the exploration of the psyches of an obsessed policeman and his equally obsessive prey. There is also the teaming of Mr. De Niro and Mr. Pacino.

The film's producer, Art Linson, said he heard about Mr. Mann's script during a lunch with the director last year. "Michael and I are friends, and he told me he had written this script about 12 years ago and was thinking of updating it," said Mr. Linson. "I asked to read it. And when I did I thought, 'This is like winning the lottery.' I couldn't believe this was in his drawer for 12 years. I told him I wanted to be part of it." Luring the two stars -- who were in "The Godfather, Part II" in 1974 but did not appear onscreen together -- was not especially difficult. "It's real simple," said Mr. Linson, whose credits include "Melvin and Howard," "The Untouchables" and "This Boy's Life." "Great material attracts great actors. That's what happened here. We gave the script first to Bob. After Bob, Al became interested. That was the flow." Also in the cast are Jon Voight, Val Kilmer, Diane Venora, Ashley Judd, Wes Studi and Tom Sizemore. Over the years, Mr. De Niro and Mr.

Pacino have played movie roles that could have been interchangeable. But they have entirely different styles and techniques, Mr. Mann said. "Anybody as good as Robert De Niro and Al Pacino, anybody who is as alive intellectually and artistically as these two men, would have to have a very specific methodology," Mr. Mann said. "They're not unlike other people. They're just better at it." Starting with preproduction work, Mr. Mann said, Mr. De Niro "sees the part as a construction, working incredibly hard, detail by detail, bit by bit building character, as if he were I. M. Pei." "The way Al acquires insight into character is different," he said. "It's more like Picasso staring at an empty canvas for many hours in intense concentration. And then there's a series of brush strokes. And a piece of the character is alive." Mr. De Niro and Mr. Pacino are press shy, and generally avoid discussing their work. Mr. De Niro said over the phone that he preferred not to talk about Mr. Pacino; Mr. Pacino did not want to talk at all.

"When I read the script it never occurred to me it was something Al would want to do," said Mr. De Niro. "When Art told me about Al, I said, 'What a great idea.' The way the film is written, we have one terrific scene together." Asked about his work with Mr. Pacino, Mr. De Niro said tersely: "We did the scenes. They were good. It felt good. And that's all." Mr. De Niro described the script as exceptional. "It was very good, very strong, had a particular feel to it, a reality and authenticity," he said. The story is loosely based on a real-life incident that took place in Chicago, Mr. Mann's hometown, in the 1960's, involving a thug who, with his team, robs an armored truck of valuable bearer bonds. A detective, thrice married and emotionally alive only when he is working, is enlisted to pursue the case. Slowly he tracks down the robbers, based on clues surfacing about their personal lives, failures and dreams. Before the inevitable violent collision between the two central characters, they come to learn about each other, discovering common threads. What fascinated Mr.

Mann was not only the personalities of the two fictional characters, but also the relationships of the gangsters and their women. "What really fascinated me was the challenge of trying to get to the lives of eight or nine people so deeply that we identify with all of them," said Mr. Mann, a wiry, feisty 52-year-old film maker who has a reputation for independence and whose movies, besides "The Last of the Mohicans," include "Thief," "The Keep," "Jericho Mile" and "Manhunter," a precursor of "The Silence of the Lambs" and a video cult favorite. Of the two central figures, Mr. Mann said: "One is a highly organized sociopath. The other is not a sociopath at all but extremely dysfunctional, who invests his emotions and intuitions in working on crimes." "They're very self-driven men," he continued. "Their lives aren't shaped by conditions and environments. They're totally self-aware. They know that time is luck, life is short and whatever you experience in your life, that's what your life will be." Mr. Mann and Mr.

De Niro spent weeks talking to convicts and ex-convicts, their wives and girlfriends and watching videotapes of them. "People who are out on the street from prison have a very disciplined doctrine about how you do what you do," Mr. Mann said. "There are no attachments. You don't allow that in your life. You have to be able to walk away from a relationship instantly. You can't have a real relationship with a woman. So what is love? What's romance? What's sex? What's the perspective of a woman who has contact with you? That's where it gets complex. That's where it gets real interesting." Heat (1995) Heat (1995) Reviewed by Colin Jacobson (January 25, 2005) Talk about high expectations! In 1995, a movie paired Al Pacino and Robert De Niro for the first time since 1974's Godfather II . The publicists for Michael Mann�s Heat really pushed this angle and marketed the movie with a "when actors collide" angle.

The ads also indicated that this was the first time the two actors appeared in together, which was technically correct; while Pacino and De Niro both starred in the second Godfather, their stories were told independently and the two never crossed paths. Unfortunately, Heat didn't offer much more "interactive time" for the two than the zilch we'd seen in Godfather II. While the characters Pacino and De Niro play are clearly intertwined - basically, Pacino's Vincent spends the whole movie trying to arrest De Niro's Neil - they spend very little time on screen together. There's one sequence in the middle of the film, and one at the end, and that's it; other than those ten minutes or so, the two never share a frame. When I saw Heat during its theatrical run, I didn't much care for it. The expectations about the whole De Niro/Pacino thing, the great reviews � it all built the picture up too much and I just never connected to it. To be frank, I can't remember what exactly I didn't like about it, but I chalked it up as just another disappointing piece of work from Michael Mann.

1986�s Manhunter was okay, but I couldn't stand Last of the Mohicans . Now that it's out on DVD and I've heard all of the raves about it one more time, I decided to give Heat another shot. I'm happy I did. The film's not perfect by any stretch of the imagination, but it's a good sight more exciting and provocative than I'd recalled from my initial screening. Of course, the acting gets most of the attention here, and most of that notice falls upon the two leads. Both are solid, although Pacino tends to fall back upon his loud, hammy mode too often; too many of his lines are delivered too broadly. De Niro, on the other hand, offers one of his most nicely understated performances. He doesn't rely on broad gestures or volume to deliver the strength of his character, and ultimately this makes him much more memorable and effective. It also nicely balances the excessive bravado of Pacino. One fact that tends to get lost along the way is the stellar nature of the supporting cast. Even though Val Kilmer was a pretty decent star at the time, he couldn�t muster above third billing here.

The cast also features notables like Tom Sizemore, Ashley Judd, Ted Levine, Jon Voight, Natalie Portman, and many others. That's a strong group. I can't really say that any member stands out, but they make for a tremendously solid ensemble. As far as the movie itself goes, much of the fan focus sticks on the action scenes, and they definitely make a strong mark. However, what most impresses me is the emotional depth of the film. Outwardly, Heat seems to be little more than an exciting game of cops and robbers, but it really is concerned with viewing how the decisions we make affect our lives. These are extreme cases, since so many of them literally are life and death, but they nonetheless can be generalized toward those of us with less frightening - or exciting, depending on your interpretation - existences. Heat really tries to posit the balances we have to make between our hearts and our heads, and how we deal with that. It's not the most exhaustive study you could want to see, but it's a surprise from this kind of a film, and it's very effective.

The DVD Grades: Picture B-/ Audio B/ Bonus D- Heat appears in an aspect ratio of approximately 2.35:1 on this single-sided, double-layered DVD; the widescreen image has been enhanced for 16X9 televisions. Parts of the transfer looked solid, but too many problems occurred for this to be a consistent presentation. Print flaws created the biggest distractions, with a particular emphasis on white specks. Those popped up quite frequently throughout the film, and I also saw occasional examples of black grit and other small marks. Moderate digital artifacting gave the movie a grainier and less stable look than it should. While the source defects caused the most serious issues, other parts of the transfer seemed less than exemplary as well. The movie almost always looked very sharp - perhaps too sharp. The film took on an artificial crispness at times that made it appear a bit harsh. Still, the definition was usually positive and served as one of the image�s better aspects. Unfortunately, it resulted in instances of jagged edges and moir� effects, and I also saw mild to moderate edge enhancement. The movie might be called Heat, but the color scheme went for a decidedly cool look.

The flick favored a bluish-green tint that kept things subdued. The DVD replicated the tones appropriately; the tones never came across as particularly rich, but they seemed satisfactory within the constraints of the visual design. Blacks were less satisfying. They usually stayed reasonably deep, but they occasionally tended to lean toward moderate inkiness. Low-light shots were also a bit murky and bland. Enough of the transfer seemed solid to merit a �B-�, but I thought it had a lot of room for improvement. Although the Dolby Digital 5.1 soundtrack of Heat didn�t suffer from the obvious flaws of its visuals, it also wasn�t consistently effective. With a few notable exceptions, the soundfield maintained a strong emphasis toward the front. Matters opened up fairly well for the more action-oriented sequences, and those managed to create a decent sense of life. Otherwise, the mix stayed stuck in the front, and somewhat awkwardly at that. Elements occasionally appeared a bit �speaker-specific� and they didn�t blend as naturally as I�d like. Nonetheless, they usually combined adequately to form a satisfactory feeling of place. The score added good stereo imaging as well. Most of the audio sounded good, as my only complaint came from the way the mix balanced dialogue.

During a few scenes, I found it tough to hear the lines. Despite those periodic obstacles, speech otherwise sounded concise and distinctive. Music showed good range and definition, while effects were crisp and detailed. As I mentioned during my discussion of the soundfield, the track didn�t present a lot of opportunities to blast, but the audio kicked into gear well when necessary. Overall, this was a good but unexceptional mix. If you want lots of extras, you won�t find them here. Heat includes nothing more than three trailers, and they�re not very good ones. Actually, all three are pretty similar. Many people don't see any point to rewatching films that they liked, much less ones that they didn't enjoy, but my second viewing of Heat establishes the usefulness of doing so. A few hours ago, I didn't like this film, but now I think it's pretty good. The DVD is somewhat spotty, as neither picture nor audio excels, and it comes with virtually no extras. I don�t think highly of this release, but I do like the movie and think it at least warrants a rental.

Viewer Film Ratings: 4.037 Stars Number of Votes: 135 In Heat, Al Pacino and Robert De Niro face off—though not in the way audiences expected · Scenic Routes · The A.V. Club Share Tweet In Scenic Routes , Mike D’Angelo looks at key movie scenes, explaining how they work and what they mean. It may be hard to remember now, even hard to believe, but there was a time, not all that long ago (he insisted, shaking his bottle of Geritol), when superhero movies didn’t own the multiplexes. Back then, movie stars were our superheroes, and fans clamored for particular matchups the way they demand Batman vs. Superman today. At the very least, there was one pairing that moviegoers couldn’t believe still hadn’t yet happened circa 1995: De Niro and Pacino, who had both appeared in The Godfather Part II, but had been cruelly separated by several decades’ worth of flashbacks.

Michael Mann’s Heat finally made proper co-stars of these two Italian-American icons (antagonists, no less!), but even then—despite a sprawling three-hour running time—they barely interacted, to the disappointment of many. The movie’s big diner sit-down had to bear the weight of years of expectations, and while it’s a well-written, beautifully acted scene, it’s almost mockingly low-key compared to the Method fireworks display everyone had imagined. But that’s not the scene I want to discuss. What interests me more is their actual first confrontation in the movie, which doesn’t involve any dialogue between them, or even any direct contact, but nonetheless creates an unmistakable psychic link. At this point in the narrative, Pacino’s robbery/homicide detective has successfully identified all the members of De Niro’s crew, thanks to Tom Sizemore’s habit of calling people “slick” (and thus earning that nickname himself). Non-stop surveillance has paid off, and the LAPD has worked out the site of the next planned heist, which involves the theft of precious metals. All they have to do is sit outside the building in an unmarked vehicle and wait for the oblivious bad guys to emerge with the loot.

It’s in this tension-filled context that De Niro and Pacino, who haven’t yet spoken, share their very first onscreen “moment,” even if the exchange is entirely hypothetical on one side. It’s plenty electrifying, if you ask me—well worth the decades of buildup. Take a look (or another look): Part of what makes the diner scene a tiny bit of a letdown, at least for me, is that it functions so baldly as a Michael Mann mission statement. Mann films are often about consummate professionals who are consumed by their work, and Heat is the epic apotheosis of that idea; having the ultimate cop and the ultimate crook sit down and chat about their inability to do anything else with their lives feels overly self-conscious. Plus, it’s redundant; scenes like the one above achieve the same goal with much less fuss. Note that there’s virtually no dialogue, on either side. To some extent, that’s practical—both cops and robbers are trying not to call attention to themselves—but it’s also simply a function of how guys like De Niro and Pacino operate. They’re working here.

Indeed, Pacino snaps at the officer who attempts to get a status report for someone outside the surveillance rig, more or less telling him to shut the fuck up. Even if the intent is to foreshadow that officer’s mistake—he’ll make the noise that alerts De Niro to the LAPD’s presence—Pacino’s response seems more like irritation about wasted energy than the fear of being heard. Another interesting and productive approach Mann takes is to provide us with almost no information about the nature of the heist itself. Bear in mind, Heat is a movie that doesn’t generally skimp on detail. In many ways, looking back at it from the golden age of serialized television, it plays like a heavily condensed season of an amazing cop show, with the sprawling narrative and multi-character arcs we now associate with that medium. Yet we don’t really know what De Niro and his crew are doing in this scene, apart from breaking into a building to steal precious metals. (Gold? Silver?

Palladium?) Mann doesn’t brief the audience on how Sizemore disarms the door—as someone with zero knowledge in this area, I just sort of assume he’s cutting the power to the alarm system, but I have no idea why that involves a laptop, or what the bars on the laptop represent. Nor do I understand how you jimmy open a door by hammering a steel peg into the lock and then doing some sort of crowbar move. (What’s the peg for? Isn’t a crowbar just a lever to which you apply brute force?) None of this is really intuitive, and Mann could easily have prepped us a little bit so that we could better follow along. But he doesn’t, because it isn’t important. Focusing too much on the details of the heist would only distract from the delicate pas de deux about to be performed. Having accompanied Val Kilmer into the building—I’m not really sure why he bothers with this, to be honest; his presence apparently isn’t necessary at all—De Niro heads back outside to stand watch, choosing a spot deep in the shadows. This forces Pacino to observe him via infrared, poetically creating the impression that he’s staring right through his skin into his soul.

Then Dipshit Cop decides it’s time to relax a little and slumps against the trailer’s metal wall, making a slight clanking noise in the process. Pacino instantly recognizes the danger, staring intently at his prey on the monitor. (A realistic touch I love: Every piece of equipment is carefully but cheaply labeled PROPERTY OF L.A.P.D.) De Niro stares right back, presumably trying and failing to imagine a source of that noise that doesn’t portend his doom. And Mann shoots both of them looking directly into the lens, thereby creating a proxy staredown. We know that Pacino can only see the fuzzy infrared image of De Niro (there’s a shot of it to remind us), and that De Niro can’t see Pacino at all. All the same, this moment has the same charge that movies provide when lovers lock eyes across a crowded room: The distance between them fades into irrelevance. Once the moment passes, both men revert to professionalism, brooking no challenge to their authority. De Niro orders Kilmer to walk away, even though Kilmer protests that he’s almost finished. (I’m a bit surprised Mann didn’t let him drill all the way through, actually.

The choice to abort would be even more powerful if they had their hands on the loot. It’s certainly more realistic this way, though.) Pacino orders his men to let the crew go, preferring to wait for another opportunity to catch them red-handed rather than hit them with a petty breaking-and-entering charge. The logic of that decision, I have to say, seems suspect—as someone with a second-degree burglary conviction expunged from his record (no, really), I know well that all the law has to prove is intent, and the drilling equipment Kilmer leaves behind would more than suffice for that. (Pacino’s dialogue seems to suggest that breaking and entering is some lesser charge; it’s actually just another term for burglary, which is all they’re committing. Armed robbery is more serious but requires the threat of harm; it doesn’t apply to stealing stuff from an empty building. Correct me if I'm wrong, attorneys and law students.) Dramatically, however, the scene’s conclusion works beautifully as a mirror reflection, with both De Niro and Pacino hugely frustrated but resolute in their commitment to what needs to be done. They’re perfectly, evenly matched. Just what we’d always wanted.

Casino (1995) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error Greed, deception, money, power, and murder occur between two best friends, a mafia underboss and a casino owner, for a trophy wife over a gambling empire. Director: From $2.99 (SD) on Amazon Video ON DISC a list of 23 titles created 18 Jun 2011 a list of 25 titles created 14 Aug 2011 a list of 23 titles created 19 Jul 2012 a list of 33 titles created 01 Jul 2013 a list of 37 titles created 10 months ago Search for " Casino " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 1 Oscar. Another 3 wins & 9 nominations.

See more awards » Videos Henry Hill and his friends work their way up through the mob hierarchy. Director: Martin Scorsese A group of professional bank robbers start to feel the heat from police when they unknowingly leave a clue at their latest heist. Director: Michael Mann In Miami in 1980, a determined Cuban immigrant takes over a drug cartel and succumbs to greed. Director: Brian De Palma A mentally unstable Vietnam War veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process. Director: Martin Scorsese An emotionally self-destructive boxer's journey through life, as the violence and temper that leads him to the top in the ring destroys his life outside it. Director: Martin Scorsese A pragmatic U.S. Marine observes the dehumanizing effects the Vietnam War has on his fellow recruits from their brutal boot camp training to the bloody street fighting in Hue. Director: Stanley Kubrick As corruption grows in 1950s LA, three policemen - one strait-laced, one brutal, and one sleazy - investigate a series of murders with their own brand of justice.

Director: Curtis Hanson After a simple jewelry heist goes terribly wrong, the surviving criminals begin to suspect that one of them is a police informant. Director: Quentin Tarantino Unscrupulous boxing promoters, violent bookmakers, a Russian gangster, incompetent amateur robbers, and supposedly Jewish jewelers fight to track down a priceless stolen diamond. Director: Guy Ritchie A botched card game in London triggers four friends, thugs, weed-growers, hard gangsters, loan sharks and debt collectors to collide with each other in a series of unexpected events, all for the sake of weed, cash and two antique shotguns. Director: Guy Ritchie An in-depth examination of the ways in which the U.S. Vietnam War impacts and disrupts the lives of people in a small industrial town in Pennsylvania. Director: Michael Cimino The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on the family crime syndicate. Director: Francis Ford Coppola Edit Storyline This Martin Scorsese film depicts the Janus-like quality of Las Vegas--it has a glittering, glamorous face, as well as a brutal, cruel one.

Ace Rothstein and Nicky Santoro, mobsters who move to Las Vegas to make their mark, live and work in this paradoxical world. Seen through their eyes, each as a foil to the other, the details of mob involvement in the casinos of the 1970's and '80's are revealed. Ace is the smooth operator of the Tangiers casino, while Nicky is his boyhood friend and tough strongman, robbing and shaking down the locals. However, they each have a tragic flaw--Ace falls in love with a hustler, Ginger, and Nicky falls into an ever-deepening spiral of drugs and violence. Written by Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu> You don't stay at the top forever See more » Genres: Motion Picture Rating ( MPAA ) Rated R for strong brutal violence, pervasive strong language, drug use and some sexuality | See all certifications » Parents Guide: 22 November 1995 (USA) See more » Also Known As: Did You Know? Trivia The scenes inside the Riviera Casino were filmed during the first six weeks of the shooting schedule.

See more » Goofs When Nicky and Ace meet up in the middle of the desert, the length of Ace's cigarette changes between shots from long to short See more » Quotes [first lines] Ace Rothstein : [voice-over] When you love someone, you've gotta trust them. There's no other way. You've got to give them the key to everything that's yours. Otherwise, what's the point? And for a while, I believed, that's the kind of love I had. [Ace's car explodes] See more » Crazy Credits SPOILER: Nicky is about to finish his narration, he's cut short by the mobsters wanting to whack him. See more » Connections – See all my reviews A complex, multilayered, beautifully directed film, Martin Scorsese's Casino is a masterpiece of destruction and betrayal. Few films take so many chances and succeed so wonderfully. It takes some of the basic formulas that were found in Goodfellas and applies them to another type of story - while Goodfellas' view was ground-level, telling the story of the "blue collar" gangsters of NYC, this film tells the story of the guys who controlled those guys.

And it's fascinating to watch these people run Las Vegas, control the flow of money, and then fall from the heights of power due to lust, hubris, and greed. An amazing film that will hopefully get the recognition it deserves in the years to come. 216 of 258 people found this review helpful. Was this review helpful to you? Yes PopcornReel.com - De Niro. Pacino. Together Again, And This Time For One Whole Movie! By Omar P.L. Moore /The Popcorn Reel September 3, 2008 Robert De Niro and Al Pacino. They're iconic New York actors -- legends through and through -- and they are big fans of each other. Next week they will share the screen for virtually all of the two hour running time of "Righteous Kill", Jon Avnet's crime drama, which opens in the U.S. and Canada on September 12. Mr. De Niro and Mr. Pacino, both Oscar winners, appeared on screen together 13 years ago in Michael Mann's Los Angeles cop-criminal drama "Heat" in three scenes lasting a combined total of about nine minutes, on opposite sides of the law. In Mr.

Avnet's new film they work on the same side as rugged veteran New York City police detectives who have seen it all after 30 years on the job. Their greatest challenge as police partners is to solve an increasingly frustrating serial-killer case that may implicate a member of their own rank-and-file. "Bob and I get along well -- always have . . . [s]o we have a mutual trust which always helps, says Mr. Pacino in the production notes for "Righteous Kill". And as if to shore up that statement it was Mr. De Niro who suggested to Mr. Avnet his good friend Mr. Pacino for the new film. To coin a phrase from a film franchise that both Mr. Pacino and Mr. De Niro were a part of: the offer of Mr. Pacino to play Detective Rooster was an offer that Jon Avnet couldn't refuse. Furthermore, Mr. Avnet had just directed Mr. Pacino in "88 Minutes", a crime thriller released earlier this year (to overwhelmingly poor critical reviews and viewership) and with the consummate professional Mr. Pacino in the mix, Mr. Avnet was in a no-lose situation.

Both actors appeared in Francis Ford Coppola's "The Godfather Part II" but did not share screen time. Mr. De Niro and Mr. Pacino are by trade shy men off screen. In the mid-1990's during a break in the shooting of Mr. Pacino's film "Chinese Coffee", this writer had managed to say a few words to the actor whose birthplace was the theater. Back then he afforded a small, but friendly smile as he slowly walked by. The rules for Mr. De Niro, to those who do not know him, are simple: call him Mr. De Niro at all times. Not a bad request -- although it's one that's occasionally disregarded by the overzealous segments of the public. When this writer had occasion to ask Mr. De Niro a question at a Long Island University filmmaking forum held by Spike Lee back in 1993 about whether he planned to direct any stage productions following his film directing debut "A Bronx Tale", he simply replied, "don't know." Mr.

De Niro did go on and direct "The Good Shepherd", a film which was released in 2006, in which his "GoodFellas" co-star Joe Pesci made an appearance after a few years away from the big screen due to health problems. Mr. Pacino and Mr. De Niro electrified "Heat" and their performances fit perfectly with Mr. Mann's noirish, cool blue Los Angeles nightscape where the cops and criminals duel for sport and reputation. As Detective Vincent Hanna, Mr. Pacino was the blowhard-type hothead detective, theatrical yet incisive with his every move and calculation. As career criminal Neil McCauley, Mr. De Niro was calm, ruthlessly methodical and focused. With "Righteous Kill" it is Mr. De Niro who is the detective with the short fuse and Mr. Pacino who is the detective with the cooler, more rational head. Detective Turk (De Niro) and Detective Rooster are like two sides of the same coin. They walk in lockstep. They love the badge and the power that comes with it.

They despise the criminals they have to pursue and they are as jaded and cynical as veteran law enforcement types can be. On opposite sides of crime at the same time: Al Pacino and Robert De Niro during their marquee scene in Michael Mann's "Heat", released in 1995. (Photo: Omar P.L. Moore/PopcornReel.com via Warner Brothers) Over the last few years several film critics and observers have opined that Mr. Pacino and Mr. De Niro along with other veteran American actors like Jack Nicholson and Dustin Hoffman have become parodies of themselves in more recent films. Just for argument's sake Mr. Pacino may have reached such a fulcrum in "Devil's Advocate" (1997) and oddly enough during the same calendar year Mr. De Niro may have done the same in "Analyze This". Both films were box office successes and each had a campy comedic feel to them even as they were very different vehicles for the New York titans.

Playing New York City police detectives who have seen it all -- except for the confounding nature of the latest serial-killer murder mystery that dogs them in "Righteous Kill" -- was probably the best thing Overture Films could have hoped for. Rather than have Mr. De Niro paired with a younger, brash sidekick -- as has been the case in the past for both actors -- Mr. Pacino stepped right in and delivered as Detective Turk's longtime partner. "If you've known each other as long as we've known each other, you can draw on that background," said Mr. De Niro in the film's production notes. "And even if it's a subtle sort of imperceptible thing, the comfort level is there because we have known each other so long. So interesting things kind of emerge." Curtis Jackson, known to most of the world as 50 Cent, one of the world's most popular rap artists, also stars in "Righteous Kill" and was deeply influenced by the iconic thespians. "Being in scenes with De Niro and Pacino, I found myself picking up their habits and working like them . . . [i]t felt like they were actually leading me through the scenes," says Mr.

Jackson in the film's production notes. The tough gangster rapper, who has rapped in his songs about how he had been shot nine times in real life growing up in the streets of Queens, New York, admitted that he was nervous, maybe intimidated by his two lead acting colleagues during the production at the time he first met them. "It was at the table read. My legs were shaking underneath the table. They've been in so many movies that I've enjoyed that just being in the same room as them was exciting." Russell Gewirtz, who crafted the screenplay for Spike Lee's hit film of 2006, "Inside Man", wrote the screenplay for another New York police story, which was filmed mainly in Bridgeport, Connecticut, with select scenes in Queens, Brooklyn and Harlem. All-in-all, the film's shooting schedule was a mere 36 days -- about 15 days longer than the theatrical U.S.-Canada run of Mr. Avnet's "88 Minutes". Combined with the extended screen time that Robert De Niro and Al Pacino share, Mr. Avnet can rest assured that "Righteous Kill" will be around in theaters for at least a couple of months.

When you add diverse actors like Brian Dennehy, John Leguizamo, Donnie Wahlberg and Carla Gugino to your cast, Mr. Avnet and audiences could be forgiven for expecting a righteous hit. "Righteous Kill" opens in the U.S. and Canada on September 12. Copyright The Popcorn Reel. PopcornReel.com. 2008. All Rights Reserved. printer friendly View All Critic Reviews (78) Audience Reviews for Heat Zounds! A meeting of the Knights Of The Round Table Of Method Actors (Dustin Hoffman must've been busy)! Only Michael Mann (writer/director) discovered that putting them all in the same room is not enough - they all need something to do. Fortunately he's enough script for DeNiro and Pacino. Nobody else though. Luckily he's got a gunfight planned, so everybody gets a piece of that. And that's probably good enough. Kevin M. Williams Super Reviewer An obsessive robbery homicide detective is locked in a battle of wits with an ingenious crew of professional criminals looking to score a multi-million dollar bank heist under his very nose.

When you see a cast list like this one you know you're in for something special, but Heat is not just special; it's an absolute masterclass. It's a fairly common formula in this day and age, showing cop and criminal as two sides of the same coin, but the way Mann effortlessly flits between both sets of superbly realised characters has never been bettered and paved the way for the modern cop drama including everything from Infernal Affairs to The Dark Knight. The performances are all, of course, top notch and every aspect of the film that surrounds them is faultlessly engineered to create a near perfect heist movie. The bank shoot out that turns the streets of L.A. into a war zone is astonishing in itself and candidate for best action sequence ever filmed. The soundtrack has maybe dated a little in places and some of the domestic drama a little heavy handed compared to the levels of sophistication shown in telling the life stories of these men born of violence, but it is all interwoven into something that exceeds the sum of its parts. A modern classic. xGary Xx Super Reviewer This is basically Michael Mann's magnum opus. It's a more fleshed out and richer version of his TV production L.A.

Takedown concerning two groups of people and their leaders: one being super slick professional thieves, and the other being highly determined and driven police officers. It takes the standard good versus evil story, ramps it up to the max, and throws in tons and tons of character development, atmosphere, and some of the most well done, realistic, and accurate gun play in motion picture history. This is all very rich, complex, and very compelling. It's a film both for those who like to think, and those who love a solid crime drama. It also has the great selling point of being the first film to feature De Niro Pacino sharing screentime together. Granted, this selling point is dated, but compared to Righteous Kill (which has them on screen together longer), this one really gets it right and doesn't overdo the joy of seeing them face off. The cast are firing on all cylinders here, making their characters, good or bad, interesting, sympathetic, and worth watching. Honestly, I'm really torn between which group I'd rather root for more, which I think is a great sign of brilliant work. Nothing is totally black and white, and each side has their pros and cons.

Mann has encyclopedic knowledge of crime, criminals, cops, and police procedure, and it shows. There's a high level of attention to detail, and it really makes one appreciate the time and care that went into all this. But of course, at nearly three hours, and with a fairly leisurely pace, this could prove to be too slow and boring for some. Honestly, I'm really not bothered by it, Sure, my patience sometimes begins to waver during the third act, but I have seen this several times, so maybe it's just a personal issue, and a bit of burn out. Mann's trademark mood and atmosphere building tools are pitch perfect here, with some of the best and most expressive lighting and camera placement ever seen in a crime drama, or other type of film for that matter. And of course, one of the other main selling points: the superb action scenes. Granted, the movie isn't wall to wall action, but that's not the point. In fact, a lot of the film is made up of lengthy, quiet scenes with tons of yakking, and even more scenes with no talking, just letting the mood wash over the viewer and draw them into this hypnotic world.

However, when this film delivers the action goods, it really delivers them, with the gunfights being intense, wild, loud, and jarring...like they're supposed to be. Just see this film already. There's only so many ways I can think of to call this brilliant before it becomes redundant. Chris Weber Super Reviewer An intense and very complex character study with Pacino and De Niro delivering two explosive performances as men so alike but on opposite sides of the same battle. Still, the film has too many characters and scenes that make it feel much longer than it should be. Carlos Magalhães 15 Things You Probably Didn’t Know About Heat – IFC 15 Things You Probably Didn’t Know About Heat Posted by IFC on December 22nd Before diving into another viewing of Michael Mann’s 1995 heist movie, starring Al Pacino and Robert De Niro, arm yourself with these 15 fascinating tidbits about the film. 1. Heat was adapted from a 1989 TV movie. Heat director Michael Mann developed the story as a potential TV show after the success he had in producing Miami Vice and Crime Story for television.

While it was never picked up by a network as a series, NBC aired the made-for-TV movie L.A. Takedown in 1989. L.A. Takedown represents about 40 percent of Heat’s eventual storyline. <noscript><iframe width="500" height="281" src="" frameborder="0" allowfullscreen></noscript> 2. Heat’s story is based on the exploits of former Chicago police officer Chuck Adamson. Mann and Adamson met while working the TV show Crime Story, which Adamson created and Mann executive produced. Adamson really did track down and ultimately kill a real life master criminal named Neil McCauley, though it wasn’t at LAX like in the film. McCauley was killed during an armored car hijacking outside an Illinois supermarket. 3. The L.A. Metro stop used in the opening appears in another of Mann’s films. It’s the same station seen at the end of Mann’s 2004 film Collateral. <noscript><iframe width="500" height="281" src="" frameborder="0" allowfullscreen></noscript> 4.

There are no CG effects used in the heist that opens the movie. The production actually tipped over an armored car while shooting on location—it was top-heavy and weighted to make the stunt possible. 5. The graphics on the side of the tow truck in this scene have personal significance for Mann. The side of the truck reads “RAJA,” which are the first initials of director Mann’s four daughters’ names. His daughter Ami served as the second unit director on Heat. 6. Robert De Niro and Al Pacino were the director’s first picks to star. In fact, they were the only actors offered the leading roles. 7. Heat is the first movie to feature De Niro and Pacino onscreen together in the same scene. While they both had roles The Godfather: Part II, they never appeared onscreen at the same time. Following Heat, De Niro and Pacino would go on to appear together in the 2008 film Righteous Kill. They are also scheduled to reunite in an upcoming Martin Scorsese film titled The Irishman (slated for a 2015 release).

<noscript><iframe width="500" height="281" src="" frameborder="0" allowfullscreen></noscript> 8. De Niro and Pacino hardly appear onscreen together. The two stars spend less than 10 minutes of the entire 170-minute film in one another’s presence. 9. Heat is Natalie Portman’s second feature film. Her first is Leon: The Professional; in it, she plays a child assassin. <noscript><iframe width="500" height="281" src="" frameborder="0" allowfullscreen></noscript> 10. Jon Voight’s character Nate is based on ex-con and writer Eddie Bunker. Mann made Bunker’s book, “No Beast So Fierce”, required reading for the actors in De Niro’s criminal crew. Bunker also served as a technical consultant on Heat. <noscript><iframe width="500" height="375" src="" frameborder="0" allowfullscreen></noscript> 11. Michael Mann did a lot of research for the film. He spent 7 months on ride-alongs with the LAPD’s robbery and homicide department. 12.

In preparation for the bank heist sequence, the film’s technical advisors had the actors case a real bank without anybody noticing. Tom Sizemore (who plays Cheritto) actually began fake negotiations for a bank loan with a bank employee during the stunt. 13. Heat’s robbery scenes are thought to be so accurate that real thieves have copied its tactics. In fact, the 1997 North Hollywood shootout was allegedly inspired by the heists in the film. 14. To prepare for the downtown shootout sequence, the actors went through three months of firearm. An estimated 800-1,000 blank rounds were used per take while shooting the scene. 15. All the gun sound effects in the shootout sequence were taken from onset audio. Mann originally planned to add gunshots to the audio in post-production. But when he tried to do so, he didn’t feel like it sounded real enough, so he kept the audio as is.

Robert De Niro confirms he’ll re-team with Al Pacino for new Martin Scorsese film Robert De Niro confirms he’ll re-team with Al Pacino for new Martin Scorsese film EMAIL AP Photo Robert De Niro, Al Pacino and Martin Scorsese are all legends – and the powerhouse trio may be teaming up for a new film. In a recent interview with the Guardian while doing press rounds for David O. Russell’s “Silver Linings Playbook,” De Niro was asked whether he ever planned on re-teaming with Scorsese, who he last collaborated with on the 1995 Vegas Mafia epic “Casino.” The Oscar winner went on to offer a promising update on “I Heard You Paint Houses” (a.k.a. “The Irishman”), the previously-announced Scorsese crime thriller that has him attached to star as mobster-cum-labor-union-official-cum-alleged-Jimmy-Hoffa-killer Frank Sheeran. So are rumored co-stars Pacino and Joe Pesci still in the offing? According to De Niro, the answer is a definite “yes” – and furthermore, the project may be shaping up for a start date.

“We’re working on something now,” answered De Niro to the Scorsese reunion question. “It’s called ‘I Heard You Paint Houses.’ We’ve been trying to get it going for a couple of years and now we’re just trying to set a time. It’s about a guy called Frank Sheeran who was in the Teamsters [a US union] and claimed to have killed Jimmy Hoffa [the controversial union leader who disappeared in 1975]. It’s based on a book by Charles Brandt who was Sheeran’s lawyer. I’d play Frank Sheeran and Pacino would play Hoffa. Joe Pesci would be in it too.” So will this be happening soon? As noted by De Niro, “It has to or we all won’t be around any more.” For the record, De Niro and Pacino have co-starred in a total of three films: 1974’s “The Godfather Part II,” 1995’s “Heat” and the critically-panned Jon Avnet thriller “Righteous Kill” in 2008. If “Houses” materializes, it will represent the latter’s first-ever collaboration with Scorsese.

Would you like to see a De Niro-Pacino-Scorsese collaboration on the big-screen? Share This This is the most amazing news I’ve had today! By: Monty Jack Hopefully this will make up for the wretchedly disappointing Righteous Kill. By: ceggertsen Well, my nipples just got hard By: LB Anything with DeNiro is all good. By: George You talking’ to me? Oh yeah! By: Al

Question: In which film of 1995 did Robert De Niro and Al Pacino appear on screen together for the first time?
Answer: Heat