{"id":83743,"date":"2018-06-07T20:19:48","date_gmt":"2018-06-07T17:19:48","guid":{"rendered":"https:\/\/ngradio.gr\/?p=83743\/"},"modified":"2018-06-07T20:19:48","modified_gmt":"2018-06-07T17:19:48","slug":"25-best-heist-movies-time","status":"publish","type":"post","link":"https:\/\/ngradio.gr\/en\/news-el\/entertainment\/25-best-heist-movies-time\/","title":{"rendered":"The 25 Best Heist Movies of All Time"},"content":{"rendered":"

A priceless haul. A crack team of thieves. A plan that can\u2019t fail. Welcome to the world of heist films, a genre with a familiar setup but the infinite pleasures of watching smooth criminals try to beat the odds and avoid getting caught. This week,\u00a0Ocean\u2019s 8<\/em>\u00a0<\/a>adds its name to a list of high-profile capers, offering a female-centric spin on the\u00a0Ocean\u2019s\u00a0<\/em>franchise, which began with George Clooney, Brad Pitt, and their buddies 17 years ago. But the heist film has always been a beloved Hollywood staple: The original\u00a0Ocean\u2019s 11<\/em>, which starred Frank Sinatra and his Rat Pack cronies, hit theaters in 1960, and it\u2019s just one example of a crime film that\u2019s been remade over the years. (The Italian Job<\/em>\u00a0and\u00a0The Thomas Crown Affair<\/em>\u00a0are the two most famous such cases, with both the originals and the remakes having their partisans.)<\/p>\n

While selecting the 25 best heist films, we leaned heavily on the importance of the heist(s) to the movie\u2019s plot. So, for example, the crime spree itself is perhaps more entertaining in\u00a0Fantastic Mr. Fox<\/em>than in the Wes Anderson film we chose, but the former isn\u2019t really thought of as a \u201cheist movie.\u201d Our choices span several decades and aren\u2019t all in English \u2014 most are thrillers, although a few are comedies. In some, our anti-heroes prevail \u2014 other times, everything goes terribly wrong. But what connects them all is that primal rush of landing the big score. Don\u2019t try any of this at home.<\/p>\n

25.\u00a0<\/em><\/strong>Baby Driver<\/em>\u00a0<\/strong><\/a>(2017)<\/strong>
\nThe big popular success that had eluded director Edgar Wright \u2014\u00a0Scott Pilgrim vs. the World\u00a0<\/em>failed to find an audience, and his\u00a0Ant-Man<\/em>\u00a0never came to fruition \u2014 finally happened with this plucky, romantic tale of a getaway driver (Ansel Elgort) courting a waitress (Lily James) while working for a dangerous mobster (Kevin Spacey).\u00a0Baby Driver<\/em>\u00a0boasts fizzy pleasures and slick surfaces, cool playlists paired with stellar chase sequences, but it\u2019s girded by a funky coming-of-age story of a shutoff kid looking to belong. As with all of Wright\u2019s movies,\u00a0Baby Driver<\/em>\u00a0is a pastiche of a hundred thousand other cool films, but its almost-musical approach to the heist film is consistently kicky, complete with the kinds of double crosses, plot twists, and big payoff that the genre demands.<\/p>\n

24.\u00a0The Town<\/em>\u00a0(2010)<\/strong>
\nWhen you close your eyes and think of\u00a0The Town<\/em>,\u00a0<\/em>your brain might first bring up images of Ben Affleck shirtless cutting to helicopter shots of downtown Boston, but the movie still has the muscular propulsion that is an Affleck directorial trademark. (And it\u2019s worth remembering that Affleck the director has saved the career of Affleck the actor several times now.) The brothers-in-crime Boston thriller has been done to death, but\u00a0The Boondock Saints\u00a0<\/em>this isn\u2019t; Affleck\u2019s emotional currents might be lunkheaded at times, but they\u2019re still there, and they\u2019re still effective. And how do you not admire a Boston crime movie where they try to rob Fenway Park? (\u201cWorse than Jack Clark.\u201d)<\/p>\n

23.\u00a0The Italian Job<\/em>\u00a0(1969)<\/strong>
\n\u201cYou\u2019re only supposed to blow the bloody doors off!\u201d The 2003 remake ain\u2019t too shabby, but the Michael Caine original is the superior\u00a0Job<\/em>: funnier, cooler, edgier. Caine plays Charlie, a professional hood just out of jail who puts together a team to steal some gold. Before he became Christopher Nolan\u2019s patron saint of emotive, remorseful, aging father figures, Caine was a dashing onscreen rake, and in\u00a0The Italian Job<\/em>\u00a0he\u2019s full of swagger and wry comic timing, surrounded by a killer British ensemble that includes No\u00ebl Coward and Benny Hill. The Mini Cooper car chase is just as adorable as you remember, and Quincy Jones\u2019s jaunty, jazzy score remains a silky-smooth pleasure. As for that ending, it\u2019s the king of the cliffhangers.<\/p>\n

22.<\/strong>\u00a0Fast Five<\/em><\/strong><\/a>\u00a0(2011)<\/strong>
\nIn order to make sure the series didn\u2019t go stale, the producers of the\u00a0Fast and the Furious\u00a0<\/em>franchise made two major adjustments before\u00a0Fast Five:\u00a0<\/em>They veered away from the street racing and toward a heist theme, and they added the Rock. Mission accomplished:\u00a0Fast Five\u00a0<\/em>reinvigorated the whole hoary brand and turned it into something massive, fevered and, if you could believe it, sort of cool. Our favorite bit in this movie is when Dom and company steal a bank vault and have to drive it around the city using multiple cars, essentially turning a chase scene into a complicated physics problem. It\u2019s more fun to watch cars being chased after a heist than watching them race each other, which, more than a billion dollars later, we all now know.<\/p>\n

21.<\/strong>\u00a0Logan Lucky<\/em><\/strong><\/a>\u00a0(2017)<\/strong>
\nSteven Soderbergh\u2019s \u201creturn from retirement\u201d movie was basically a down-home, West Virginia\u2013ized version of\u00a0Ocean\u2019s 11<\/em>, with a younger cast dealing with adverse economic conditions by trying to rob the Coca-Cola 500 in Charlotte. Soderbergh knows he\u2019s doing riffs on past hits \u2014 a newscast even calls his heist \u201cOcean\u2019s 7-11\u201d at one point \u2014 but he knows the milieu so well that it\u2019s just a treat to watch him take us through all the motions. The movie wasn\u2019t a hit, but it absolutely should have been. And lord help us, Daniel Craig is amazing in this movie. It\u2019s not for nothing that Soderbergh lists him as \u201cIntroducing Daniel Craig\u201d in the credits. His name is\u00a0Joe Bang<\/em>, for crying out loud.<\/p>\n