FeistyUpper
If you don't like this, we can't be friends.
BeSummers
Funny, strange, confrontational and subversive, this is one of the most interesting experiences you'll have at the cinema this year.
Portia Hilton
Blistering performances.
gjprag
I only came across 'Thief' recently and enjoyed it thoroughly. Although I'm not big on action films, the camera work and direction in 'Thief' was compelling to watch and ahead of its time in this 1981 film. I liked how Mann gave his characters a three dimensional quality, something we hardly see in action films anymore. We actually see how thieves prepare their heist and break into an impenetrable safe. 'Thief' was a bridge from the '70's character studies to the '80's action story lines. James Caan did some great work in this film, but he could have played it a half note lower with less dialogue. He tends to overact, but when he's on the money he's really good.
SerDelon
Visually and soundtrack wise, the movie almost epitomizes that style that we tend to associate with the 80s crime films nowadays; the neon lights, synth-heavy music, the uneasy, dark atmosphere. Clearly a big inspiration and influence on movies such as Drive. It's beautifully shot and the musical accompaniment is amazing. From a stylistic standpoint, this movie will not disappoint.The film's story is rather simple and easy to follow as is usually the case with these kind of movies, don't expect a complex story-line with great turns or plot twists but I did not feel that was an issue in this particular film.As for the characters, the movie heavily focuses on the main protagonist so the side characters are perhaps not as deep, but that is not really an issue either, the side characters "do their job" for what they were written for and it allows the main character to flourish much more. Rarely have I seen a more "easy to like" protagonist such as this one, Cann did a great job with his acting as did the writers. His lines are cool, he's professional and cold but can also be a bit hotheaded at tunes, the whole essence of the character oozes "badass" in my opinion.Also, the heists themselves had a feeling of authenticity to them, I'm not sure if it was the most accurate portrayal of how it happens in the real world but they certainly felt more believable than they do in most movies.Honestly, I personally felt that the movie was almost perfect but that'd be heavily biased of me so to be more objective I'll say it's about 7 to 8 out of 10 for an average viewer.
NateWatchesCoolMovies
With Thief, Michael Mann distilled his crime film style into an archetypal, haunting aura that would go on to influence not only his excellent later work, but other filmmakers as well, everything from Refn's Drive to the police procedural we see on television today. A style that consists of kaleidoscope neon reflections in rain slicked streets, Chrome cars bulleting through restless urban nocturnes and a lyrical, pulsating score, here provided by underrated German electronic maestros Tangerine Dream, who would go on to provide their dulcet tones for Mann's phenomenal 1983 The Keep. Thief weaves the age old tale of a master safe cracker(James Caan in a beautifully understated performance) the high stakes at risk of him performing one last job to escape, with said stakes represented as his angelic wife (Tuesday Weld) and newborn son. Robert Prosky in his film debut is a serpentine wonder as Leo, Caan's boss, whose chilling metamorphosis from paternal employer to domineering monster is a joy to watch. The jewel heist scenes are shot with a researched, assured and authentic feel, spurred on by Tangerine Dreams cosmic rhythms and are especially dynamic points of the film. Thief, for me, belongs that special subcategory of Mann's career along with Heat, Miami Vice and Collateral, (Public Enemies doesn't get to come in this elite cinematic treehouse club, it didn't do anything for me) that are very special crime films. They possess an intangible, ethereal quality of colour, metal, music, and shady people moving about a thrumming urban dreamscape, professionals at what they do, cogs in the ticking clock of crime that inexorably drives toward the narrative outcome, be it bitter confrontation and violence (of which Thief has an absolute gorgeous, poetic revenge sequence) or cathartic resolution (like the conventionally satisfying way Collateral ends). Mann has captured neon lightning in a bottle with Thief, and against the odds of people saying you can't catch lightning twice, he has spark plugged a good portion of his career with that same lightning, creating an artistic aesthetic all his own. To me that is the ultimate outcome of filmmaking, and art as a medium.
witster18
I didn't see this film until 2013. It blew me away. Literally glued to the screen. Purchased immediately. It's a film that I'll always treasure.Today, films like "Drive" use the same template, and even though some of those films are really good, they're no "Thief". Michael Mann was just starting to develop his style, and it's evident in every frame, every scene.The acting is top-notch. Caan is fantastic. The action sequences a balance of realism and style.Mann's use of darkness and blue and red color is awesome. He'd later overdo-it for the nearly as good "Manhunter", but here it's a subtle touch that really adds so much to the film. There's other subtle touches as well, with the editing and sound. Everything here seems so properly calculated. The style doesn't interrupt the film, it adds standing hairs on your arms with little nuances. The music is great too.Just see it! Please. They TRULY don't make them like this anymore. You'd be hard pressed to find a film with such a beautifully restrained use of style and realism, bolstered by such powerful human emotions, without seeming pretentious in any way. This is raw grit on film stock.Somebody cared about this one!95/100I don't hand out 10's for just anything either. This is the last film I rated a 10, and only the 42nd out of 3,400 I've rated on IMDb.(late edit: since viewing "whiplash" has been viewed and rated 10)
