One of my all time favorites.

Good story, Not enough for a whole film

best movie i've ever seen.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

To begin with, I feel just a magical attraction to films about robbery and the greatest, all-encompassing divorce. That's why I turned my attention to Grab, but I was expecting several others, a more thoughtful and concise film, the thoughts of which I decided to share with you. We have the same picture in the spirit of Robbery in American / Italian / French, but with a hard touch of realism. The first thing that catches your eye: even an ideally conceived plan of robbery in all senses can give a break and everything can go diametrically opposite to the contrary. It is in this vein that we see the beginning of the film: the main character fixes the camera of observation of the precious shop during the robbery, after which his life abruptly changes. This fact immediately raises the mood - we will not look at the fantastic methods of divorce / robbery / deception in the course of the film, we will only observe the life of mere mortal robbers, who in general are ordinary people without super-normal abilities. The protagonist is Joe (Gene Hackman) - an old yacht designer, who apparently does not live only for the rewarded, but robs only for the sake of pleasure and to embody a couple of goals in life. He has a young wife that is beyond his years, loyal friends and good business. What more can one wish for in old age? Yes, carefree old age, she can only give a final and perfectly past robbery, which will be the apogee of Joe's whole life. The only snag - over Joe there is another boss - Mickey (Danny DeVito), who does not want to let go of the chicken carrying golden eggs and strives to squeeze out the latest strength from Joe. Without Miki, the film would not have turned out so steep and that's why. The fact is that Mickey wants the last case (the theft of the Swiss bank's deposit assets) to go perfectly and put Jo's man-a nephew named Jimmy (Sam Rockwell) into Joe's team. It's clear that Joe does not like this, and he must deceive Jimmy in order to get his share right and get out of the water (remember the final deception of Danny Ocean by Terry Benedict in Ocean's 13 friends). That's where the black line of the film begins. The fact is that Joe constantly tries to perform a so-called divorce (we will call him that) to confuse Jimmy. But the problem is that such divorces in almost 2 hours of the film happen almost 6-7 pieces and at the end of the story you can not understand whether Jo's wife have sex with Jimmy, or whether she is the one who makes the distraction. Perhaps the director went too far with the deceptions in the film, but in the end we will be answered to our questions and the film will end on a positive note. Imagine the situation: colleagues in the shop begin to swear, swearing goes into a verbal skirmish, one of the colleagues in a fit of passion is removed, after which the remaining lives of each other to smile. And all would be nothing if in the next frame they no longer fought, and the wife of one of the heroes did not cover him with a three-story mat. After 15 minutes everyone smiles again and so several times. Half an hour later, you begin to connect the strings, but everything falls into place (well, or almost on your own) at the end of the film. But the robbery itself looks very tasty. Realism permeated every frame, from preparation to raid and ending with a simple exchange of fire between the boss and the robbery executor. There is no place for colorful pirouettes, bottomless pistol shops and an ideal passing robbery. In the robbery the hostages constantly ask questions, the police do not arrive on time, and all the plans of the robbers already know every dog. Here everything is like in real life: think all 10 steps ahead, prepare 5 retreat plans, but in the end do it all differently. For this we Robbery and love, for this we respect him. If you like the theme of robberies, but your eyes are cut by colorful robbery playboys, who click their fingers open a 10-ton safe, then Grab is definitely worth your attention.

You'll lose count at all the twists in David Mamet's "Heist," starring Gene Hackman, Rebecca Pigeon, and Danny DeVito.One distraction here is that when I first saw Hackman and Pigeon, I thought Pigeon was Hackman's grandfather. Then I found out she was his wife. There's only a 35-year difference.Gene Hackman plays the leader of a gang robs jewels and fences them with Mickey (Danny DeVito). Mickey stiffs the gang on their latest heist in order to get them to steal a shipment of Swiss gold. As an added negative, he wants his nephew (Sam Rockwell) to go along with them.The crimes themselves are clever, but there are so many twists in this story -- and you have no idea what's a real circumstance and what's a machination by the Hackman character and just seems like it's happening, but isn't. And you won't know at the end of the movie, either.The performances are fine, except I didn't think Rebecca Pigeon registered much. I don't think it was that good a role. Danny DeVito probably had the best one as the mean as dirt fence.I loved House of Games and The Spanish Prisoner; this one doesn't come up to either one of those.

This isn't about any heist plot but who gets to keep the girl.Actually the problem is that it puts all its energy into being the first which is merely passable because we've seen something like it so many times, glossing over the second which is the real narrative engine that drives the story, the girl emblematic of a life with her far away from all the crap of 'normal' life with its bartering and betrayal. The aging conman has built a deep bond with her but will it last or snap? The young accomplice hungers for her. All the switcheroos, conning and acting roles about this tension over the viewer: do we think she's gone over? Does she have control of what she feigns or is she being swept?Alas this appears in the film as 'subtext' instead of the main study.The ending has a wonderful bit of ambiguity. Did he have everything planned to the last possibility of betrayal? Or did he luck out by the dumb chance of not having finished painting over all the gold bars? Hackman knows he must look torn and numbed by this uncertainty as he leaves, unsure himself if driving off with the ability to buy a new life but not the girl to share it with is in the end either much luck or plan worth having planned.

The film is literally about a group of people who know exactly how to communicate and collaborate without even having to confer by speaking, confronted with a newcomer who doesn't speak that language at all, and probably couldn't to save his life, but they're nevertheless forced to deal with him. Mamet's twists aren't just "twists." They work at this fundamental level, for instance as they all work right under our noses to rid themselves early in the game of this unexpected liability, how every character knows what the other really means and implicitly goes along with it lock, stock and barrel. This greenhorn, in all seriousness, expresses his guileless lack of understanding of what would ordinarily be expected to be meant, let alone the real situation as regards to him. Later on, when chance comes back to bite them, leader of the pack takes a moment to think, then gives them tasks. His number two guy asks where he's going with this, to which he just replies, "Just listen." They often nod to each other from a distance and no one else sees. We've seen this done a lot, but not in this way too often: What is the idea that one is communicating that the other immediately acts upon? Hackman plays Joe "Cute as a Chinese Baby" Moore, a thief whose real passion is building boats. His crew comprises Bobby ("You know why the chicken crossed the road? 'Cause the road crossed the chicken.") and Pincus ("He's so cool, when he goes to bed, sheep count him."), and Joe's wife Fran, who "could talk her way out of a sunburn." They pull a big job, with one snag: Joe's face on security camera. Time to tow anchor and aim for ports, but not as per Mickey Bergman, who forces Joe into One Last Job, and insists he include his incompetent nephew Jimmy Silk, the sort of madcap who packs a gun in an unsafe neighborhood which wouldn't be that if he left.The plot progresses through tangled altitudes of deception. Mamet adores magic, namely trickery, and this plot, like The Spanish Prisoner and House of Games, is a spectrum that refracts various realities conditional on how you're slanted at a given time. It also includes ample loads of criminal art, as in the minutiae of the opening diamond heist, and the way they appropriate gold ingots from a cargo plane later on.Some critics disliked the particulars I loved most. We learn from professional opinion-pushers that some climactic gunplay could've profited from more stylized treatment, which is amazingly unwise. Are they suggesting they would've favored one of those according-to-Hoyle automated gunfights we're tired of after innumerable overhauls? What I love about this climactic gunfight is the way some of the characters are clumsy and uncomfortable. This is perhaps their first gunfight. DeVito skips into the line of fire frantically, "Let's just talk!" Earlier, you suddenly find a violent confrontation breaking out between Delroy Lindo and a few of DeVito's heavies, and then going right back to trying to talk things out, right out of the building. The care with which Hackman says, "He ain't gonna shoot me? Then he hadn't oughta point a gun at me. It's insincere." And the typical exactness of this exchange: "Hey, I'll be as quiet as an ant pissing on cotton." "I don't want you as quiet as an ant pissing on cotton. I want you as quiet as an ant not even thinking about pissing on cotton." I'm also confused by why critics harass Rebecca Pidgeon. Yes, she has a distinguishing delivery which is well-matched with Mametized dialogue: terse, abrupt, informal. Mamet enjoys creating anachronisms for her like when Joe says, "Nobody lives forever," and with pure deadpan she replies, "Frank Sinatra gave it a shot." She's not meant as a graceful classic noir succubus, though her character doesn't mind seizing that opportunity, but as a gutsy Anybodys sort who can't entirely be trusted. Mamet bothers to provide us with technique and inventiveness, and is criticized by professionals because his work doesn't come from an automated press.Hackman is naturally a connoisseur at gristly, graying veterans and, oddly, has been throughout his career. He and Lindo make a home in their roles so effortlessly facing twists and double-crosses with down-to-earth authenticity. A makeshift rapport that assures us they've collaborated for quite a long time and are like-minded on all that counts, their knowing abbreviation is like an old stand-up's slang, guiding our interest away from the ruse. And DeVito is one of the most unfailingly amusing actors in American cinema, with an oomph that makes his dialogue throb. "I've just financialized the numbers," he rationalizes. He's not a bad guy here, simply an unethical capitalist glutton with risky affiliations.And one may wonder why Pidgeon's Fran would do what she does after the truck collision, but it's because we can't be certain whether her final surprise is really her final surprise. And the film closes with one of the great movie smiles, maybe a little more at us than what's transpired. And we smile back, cheek to cheek, because it's still self-contained: This character knows the final surprise is not the final surprise. Heist is the brand of caper film that came before special effects supplanted sharpness, structure and dialogue. This movie is comprised of natural ingredients, not manufactured goods. With both heists, at the beginning and in the middle, major stakes are raised, because in spite of its practically record-setting amount of plot twists, it's about its characters.