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Peeping Tom: The Cinema Of The Complicit
Has ever a film had more of a 360 degree critical turnaround than Michael Powell’s 1960 psychodrama, Peeping Tom? Possibly Heaven’s Gate, although at least Powell wasn’t blamed for the perceived ruin...
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Scene Of The Crime: Drive
Love In An Elevator, Livin’ It Up When I’m Goin’ Down Driver (Ryan Gosling), the stoic, monotone, toothpick chewing doomed hero of Nicolas Winding Refn’s cool, eighties-riffing neo-noir Drive, is an...
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Scene Is Believing: Heat
Heat, Michael Mann’s sprawling, glorious epic of obsessive professionalism, ego, single mindedness and doomed relationships on either side of the law, sprang from that most innocuous of accidents: a...
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BAMcinématek – An Evening With Michael Mann
Over the last week from February 5 to 16, BAMcinématek in New York conducted a retrospective of the career of director Michael Mann, including his least loved child, The Keep, and a brand-new,...
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Mann – Magic Act
Can Michael Mann be considered a Hollywood auteur? In the following tribute to his crime films by Plot Point Productions, we see, rather than direct narratives, a recurring fascination with...
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Heat Anniversary Screening with Q & A
On Wednesday evening, September 7, director Christopher Nolan hosted a special 4K screening of Michael Mann’s glorious crime drama Heat at the Academy’s Samuel Goldwyn Theater in L.A, followed by a...
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Downtown Takedown – Heat’s Bank Robbery Shoot-out
For visceral impact, Heat‘s sustained ten-minute cops and robbers shootout in L.A’s financial district following a bank robbery by Neil McCauley (Robert De Niro) and gang is hard to beat. Cop Vincent...
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Triple Bill: Real Human Beings, Or Counterfeit Lives: Thief, To Live And Die...
The following three crime dramas share a commonality of purpose and style, in the electro-pop tracked machinations of their flawed players. Three testosterone fuelled templates of urban male machismo...
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In The Sensual (Under)world: Michael Mann’s Miami Vice
When Michael Mann revamped his 1980’s “MTV Cops” format in 2006, he chose to deliver a cop drama again like no other: hyper-realised, impressionistic, big. No longer bound by their Miami-Dade...
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Blackhat: (Cyber)Mannhunter
Michael Mann doesn’t make films that pander to Americans. Or at least, that’s the impression suggested to anyone even vaguely familiar with the métier of Jean-Pierre Melville or Jean-Luc Godard. His...
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