Professional safecracker John Bridger's team have plans to steal $35 million worth of gold bullion from a safe in Venice from Italian gangsters who had stolen it weeks earlier. Professional fixer Charlie Croker, computer expert Lyle or "Napster", wheelman Handsome Rob, inside man Steve, and explosives expert Left Ear comprise the team. Although the heist is successful, Steve double-crosses them as they drive towards Austria with the bullion. With another crew he takes it for himself and kills John. Rob drives the van over the bridge into the water to protect the others, using air tanks from the heist to stay alive. Steve leaves them for dead.
Stephanie Zacharek, writing for Salon.com, liked the reinvention of the plot and the style and execution of the action sequences, specifically those involving the trio of Mini Coopers, which she wrote were the stars of the film.[27] BBC reviewer Stella Papamichael gave The Italian Job 4 stars out of 5, and wrote that the "revenge plot adds wallop lacking in the original."[28] Los Angeles Times reviewer Kevin Thomas praised the opening Venice heist sequence and the characterization of each of the thieves, but felt that the Los Angeles heist sequence was "arguably stretched out a little too long."[29] Roger Ebert gave the film 3 stars out of 4, writing that the film was "two hours of mindless escapism on a relatively skilled professional level."[30] Mick LaSalle of the San Francisco Chronicle concurred, describing The Italian Job as pure but smart entertainment "plotted and executed with invention and humor."[31] Reviewer James Berardinelli also gave the film 3 stars out of 4, and said that Gray had discovered the right recipe to do a heist movie: "keep things moving, develop a nice rapport between the leads, toss in the occasional surprise, and top with a sprinkling of panache."[32] Variety's Robert Koehler compared The Italian Job to The Score (2001), another "finely tuned heist pic" which also featured Edward Norton in a similar role.[33]
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Okay, so, technically in The Fugitive, the wrongfully-convicted Dr. Richard Kimble (Harrison Ford) does not *break out of prison* so much as run away after several prisoners hijack their transport bus and attempt to escape, but the stakes are the same. Kimble is on death row for the murder of his wife, which he absolutely did not commit, and is determined to clear his name, running like hell and changing his identity and doing everything he can to avoid capture by the jeans-wearing human bloodhound of U.S. Marshall, Samuel Gerard (Tommy Lee Jones, in an incredibly well-deserved Oscar-winning performance). I love this movie so much. Sam Gerard may not care, but I do.
The battles behind Francis Ford Coppola's surreal war movie are well-documented: the nightmarish, multiyear shoot; star Martin Sheen's heart attack and recovery; a cackling press corps that sharpened its knives for a turkey of epic proportions. Coppola would have the last laugh. So much of the vocabulary of the modern-day war picture comes from this movie, an operatic Vietnam-set tragedy shaped out of whirring helicopter blades, Wagnerian explosions, purple haze and Joseph Conrad's colonialist fantasia Heart of Darkness. Fans of the Godfather director, so pivotal to the 1970s, know this to be his last fully realized work; connoisseurs of the war movie see it (correctly) as his second all-out masterpiece.
Stop snickering: There's a real reason why this sci-fi actioner is so high on our list. Never before (and probably never again) had the monied apparatus of Hollywood been so co-opted to make a subversive comment about its own fascist impulses. Director Paul Verhoeven cackled all the way to the box office as giant bugs were exterminated by gorgeous, empty-headed bimbos; when Neil Patrick Harris showed up near the end of the movie in a full-length Nazi trench coat, the in-joke was practically outed. Source novelist Robert Heinlein meant his militaristic tale sincerely; meanwhile, the blithe destruction of humankind on display here could only be intended as a sharp critique, both of soldiering and of popular tastes. Return to it with fresh eyes.
Pervy Dutch director Paul Verhoeven is better known for Basic Instinct and Showgirls, but war movies are his true métier. In this deliciously plotted WWII survival tale (a comeback of sorts for the Hollywood exile), a hotcha Jewish singer becomes a spy, a freedom fighter and a bed partner of Nazis. Talented Carice van Houten commits fully. 2ff7e9595c
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