Very well executed

This movie is the proof that the world is becoming a sick and dumb place

Excellent, Without a doubt!!

A Major Disappointment

I watched this movie at least five times (yes, five times!) and I want more of it. Like a previous reviewer opined, the more I return to watch this movie, the more I liked it.This has got to be one of the best known examples of why people who write reviews must breathe in deeply and exhale slowly before they assume the role of butcher working on someone else's hard work. Those who expected gratuitous violence can be excused for their disappointments.Forget the theme of the movie and take a lateral view on some of the smaller characters portrayed for a second. Consider the dialogue between the Asian-looking female bar tender to the character of Richmond Arquette. His response is so, so true concerning men who find themselves down who fall in love with well off ladies in the hope of having a place to sleep. Yes, the abandoned warehouse he sleeps in is better than taking advantage of a woman who expected love for the sake of hitching a ride to comfort. Also consider the impulsive and impetuous character of De'aundre Bonds against that of Robert Wisdom. Lots of funny dialogue there. Then again think of the scene of an exasperated character played by Ice T shooting at the armoured car on finding that their plan was increasingly attracting audience.Forget the bad reviews. If you found yourself with nowhere to go on a rainy Saturday morning, watch this movie and reflect on the ambitions of these characters and you will see the beauty of this movie.

Not to be confused with The Heist (1997), nor should it be confused with Armored (2009), of which this is a precursor by ten years, THIS "The Heist" is a decent urban shoot-em-up starring an over-the-top Ice-T as "C-Note".C-Note, Slim (Wisdom) and Trent hijack an armored car and murder the guards. They hide out in an abandoned warehouse but then Jack (Perry) and his brother Moe (Richmond Arquette) stumble upon them and try to take the money while trying not to get killed by C-Note. There are plenty of double and triple crosses, some of which involve white boyz trying to be more "street", one of which is played by David Faustino. During the final, prerequisite gun battle, C-Note shouts "Die, white boy, die!" Thanks to Ice-T's inimitable delivery, that is laugh-out-loud funny.Luke Perry has a beard and attempts to act "tough", with middling results. Before holding up the armored car, C-Note once again gets a great line when he utters "This is our personal ATM. Let's make a withdrawal". Clearly C-Note missed his calling as a banker/financial guru.All in all, "The Heist" (1999) is an adequate, workmanlike action flick with no surprises.For more insanity, please visit: comeuppancereviews.com

This movie is the perfect example where a decent plotline featuring good actors can be totally butchered by terrible scripting and bad dialogue. While the premise of a straight forward armoured car robbery and the subsequent battle for the spoils is (in my humble opinion) a solid storyline, the execution of the storyline in this movie is so bad as to be almost unwatchable. This is obviously a made-for-TV movie (the DVD features 4x3 format and stereo sound only, no widescreen or 5.1), but manages to fall short of even that benchmark. The characters are (for the most part) ridiculous, the dialog extremely corny, and the details of the storyline so bad they would appear to have been written by a ten year old. The thing that lured me to hire this piece of rubbish was the R rating - I was expecting some violent and graphic acts of carnage. But even the action sequences in this movie are poor - one notably featuring a bizarre looping of footage after someone is shot. Whether this was an editing glitch or a failed attempt to heighten the dramatic impact of the sequence is open for debate. In short, avoid this film like the proverbial plague. Do yourself a favour, and hire The Salton Sea instead.

This is yet another sharp, stylish genre piece from the talented and always underappreciated Kurt Voss, a skilled director as at home in the world of low-budget exploitation as in that of character-driven art house work. Here Voss uses the limitations of the low-budget genre world as assets, creating a work of energy and distinction marked by the same kind of witty dialogue as his collaborations with Allison Anders or his underrated HORSEPLAYER. Whereas most of the straight-to-video and cable world is a vast wasteland of clunky, empty-headed junk, Voss is continuing in the tradition of people like Jonathan Demme, Martin Scorsese, and Joe Dante, who in the seventies used exploitation films as vehicles for intelligent, personal entertainments. Like all of Kurt Voss's work from BORDER RADIO to SUGAR TOWN, THE HEIST is a great deal of fun and highly recommended.