Here Are The 38 Best Heist Movies You Can Watch Right Now

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Here Are The 38 Best Heist Movies You Can Watch Right Now:

Beginning with the groundbreaking 1903 western The Great Train Robbery, which has a train stick-up, heists have been a part of movies for a very long time. Heist movies have always been one of the best types of movies.

They’ve had a solid structure from the start, as well as the great thing about that is that it gives filmmakers and writers a great place to subvert and experiment, knowing that the structure will be there to keep things going in the right direction no matter how far off track they get.

There have been a lot of quick-cash derivative as well as B-quality robbery movies since the early 2000s. But there have also been a lot of heist thrillers that are the best of the subgenre and have added new, interesting material to it in some way.

Popular big-budget movies like Inception as well as Fast Five, which are fascinating but not really in the heist genre, will not be on the list because they are too focused on special effects that take away from the story.

Heist:

“Everyone needs cash.” That’s the reason they call it money.” If Mickey Bergman, played by Danny DeVito, the villain of David Mamet’s ensemble piece is a crooked, foul-mouthed short man who looks at jewels via a monocle, then it’s easy to see why the Pulitzer Prize-winning director chose this title.

As the first good heist movie in a long line, Heist is a carefully put together caper movie that, while not breaking new ground, does capture the best of the genre the witty, down-to-earth banter, the counter-plan twists, the clockwork mechanics, as well as the up-the-sleeve aces that make a heist successful, as well as the feelings of distrust, betrayal, and seduction.

Heist is about Joe Moore, a professional thief who is worn out but calm. It also stars Bobby Blane, Pinky Pincus, Moore’s wife Fran, and Moore’s lifelong crewmates.

Joe decides to quit heisting after being caught on camera through a security camera and runs away to the Caribbean. But Bergman doesn’t pay him because he wants to make him come back for “one last job.”

Bergman brings in his rogue nephew Jimmy Silk to make sure Moore sticks to the deal. Jimmy is not only a short-circuit for Joe, but his feelings for Fran make things even worse. In the end, Heist is the retro caper movie type that would rather pick a lock alongside hairpins than use a glue bomb to blow it off.

From the first diamond theft to the plan to steal gold bars from a cargo plane, Mamet’s script does a real heist to charm the audience. It doesn’t rely on gunplay or twists that have been used in other heist movies, but on rich, consistent wordplay that is full of the funny, often self-deprecating cynicism that is so important to a caper movie like Heist.

The Asphalt Jungle:

Criminals from different backgrounds get together and plan to get rich quick or just “get out from under” with one last, high-risk score. A state-of-the-art security system is expertly defeated before a rogue element threatens the plan’s ultimate success. Lastly, our greedy heroes lose all the money they got illegally in a violent breakdown.

Classic heist movies from the time, like Rififi, Jean-Pierre Melville’s Bob le flambeur, as well as Stanley Kubrick’s The Killing, solidified these tropes. But The Asphalt Jungle is where the heist movie we know and love all began.

It’s clear that this is a John Huston movie, and a lot of the things that make him unique have helped to shape the subgenre: weak-willed brutes as heroes, failure as a result of arrogance, acts of resistance through a group of outsiders.

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Louis B. Mayer, the head of the studio, said that the movie was “full of nasty, ugly people performing nasty, ugly things.” Mayer didn’t think that was a compliment, and it’s clear that the directors who made heist movies after Huston didn’t agree with him.

Bob The Gamble:

Or Bob le Flambeur when it was first released. Bob Montagne is the fun guy of Montmartre. He’s an ex-con who’s made his way back into society through keeping his nose clean for 20 years while maintaining his sense of honor.

But when things don’t go Bob’s way in the Paris casinos, he hears about another way to make money. There will be 800 million francs in a safe upon the day of the Deauville Grand Prix horse race.

But as Bob starts to put together his crack team, word gets out to some bad guys in the city, as well as Bob gets into a race of his own.

The film is quick on its feet and easy on the eyes. It’s an interesting connection between the Rat Pack movies, the gangster movies Hollywood was making, and the next big step forward within the French New Wave.

The Thieves:

Half Ocean’s Eleven is an action movie from the mid-1990s in Hong Kong. South Korean director Choi Dong-hoon’s heist blockbuster The Thieves might seem like a copy, but it has a great mix of gamesmanship as well as witty repartee, the twists and turns of a competition to see who can be the best, and crazy but exciting stunts like rappelling daredevils, car chases, as well as shootouts.

Setting the scene in a fancy foreign place with fancy clothes is a lot like the beginning of Soderbergh’s heist movie. Master craftsman Macao Park brings together Korean and Chinese people to steal a legendary $20 million diamond called the “Tear of the Sun” and sell it to an unseen Keyser Soze-like mobster named Wei Hong.

Along the way, the characters are honed through silly antics, language barriers, as well as seductive interactions till the much-anticipated as well as notably well-edited heist, which jumps back and forth between a sneaky break-in, holding guards at gunpoint, as well as the obligatory couple acting like they are married.

However, things go badly for The Thieves when the plan fails and the members are thrown into a situation where everyone is on their own.

Indeed, Dong-hoon’s The Thieves is the fifth highest-grossing Korean film of all time. This is due in part to the fact that it is a stylish and technically impressive show, as well as the fact that it has more entertaining and thought-out character interactions than the average blockbuster.

Rififi:

Francois Truffaut called Jules Dassin’s Rififi “the best crime film I’ve ever seen” when it came out, and it’s still one of the best in the genre. The heist scene is still the one that all others are judged by.

Like The Asphalt Jungle’s almost-soundless raid from midnight to dawn, Rififi’s is accompanied only by the tense silence and the occasional squeaks and thumps of a diligent crew carefully cracking a Rue de Rivoli jewelry safe.

This 30-minute scene is the sparkling heart of Rififi, but the rest of the movie is a great Gallic noir, made even tougher and more cynical through its director-star.

In a confrontational point-of-view shot, Dassin shoots himself, which is his first time in front of the camera and, more importantly, his first time behind it since being banned from McCarthyite Hollywood in 1949. Dassin plays Cesar, a safecracker, who is one of the first heroes in Rififi’s story to buy the farm. He is killed by his coworkers.

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Out Of Sight:

This first part of Steven Soderbergh’s crime movie is the George Clooney text. It’s smoother than an otter slicked within E45 and almost too dashing to be real. This is where the megawatt-watt Clooney first put together a poster.

His character, Jack Foley, was a bank robber who gets out of jail and immediately starts looking for a stash of raw diamonds that he heard about while he was in jail. “Are you being robbed for the first time?” “How are you doing?” he asks the worried cashier in the middle of the theft.

“You’re doing great.” Following him are Karen Sisco, who plays Jennifer Lopez’s sheriff, and a rival gang that wants the diamonds for themselves. Soderbergh as well as Clooney would make Ocean’s 11 bigger, but this is where it all began.

The Town:

Four men in scary masks as well as carrying assault weapons break into a bank through its doors, as seen on a security camera. This looks like the start of an armed theft.

As the story goes on, the thieves destroy evidence by putting security camera data sticks in a microwave, throwing cellphones into fishbowls, and cleaning DNA traces with bleach. On top of that, one of the thieves brutally hits the bank manager over the head with an assault gun.

Ben Affleck’s movie version of Prince of Thieves is filled with a lot of attention to detail and a unique, lean but cruel quality, as the beginning of The Town shows. There is a lot of crime in The Town, just like in the Boston-based crime tales Mystic River, The Departed, as well as Affleck’s first movie, Gone Baby Gone.

The movie is about band leader Doug MacRay and how he works with his nervous and unstable partner Jem Coughlin as well as two other men to do bank jobs for local crime boss Fergie “The Gardener” Colm.

The stakes start to rise when MacRay falls in love with bank waitress and heist witness Claire Keesey, just as Jon Hamm’s bland FBI agent Adam Frawley is about to close in on MacRay’s group of criminals. The plot is eerily similar to Michael Mann’s Heat.

There isn’t much of an FBI plot in this heist thriller, but The Town is at its most intense and heartbreaking during the shootouts, robberies, as well as car escapes that pit the plan against Renner’s wild card character, Coughlin. Coughlin is not only an uncontrollable force throughout the movie, but he also represents the same criminal desires and instincts that MacRay is trying to leave behind.

Bande À Part:

Even though the heist style was still pretty new, Jean-Luc Godard was already breaking it down. Franz and Arthur, the amoral thieves in Bande à Part, are like man-childs pretending to be movie gangsters.

Their target is a small one: a suburban safe that holds the savings of a middle-aged Parisian woman. Odile, the woman’s dreamy niece, told Franz about a stash of cash in passing, which made her the film’s planner.

A lot of great heist movies have tight plots, but Bande à Part drags on. A love triangle forms over silly moments at the Louvre and unplanned café dances.

As Godard lets himself play, the story waits. Characters pause to summarize the trailer for latecomers as well as suggest a “minute’s silence” bold choice, which temporarily mutes the film in one of Godard’s most conventional films.

The Duke:

The Duke is the last Roger Michell painting he finished during his lifetime. It’s based on a true story about a Geordie man who stole Goya’s picture of the Duke of Wellington from the National Gallery.

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He wasn’t after money or perhaps the thrill of the heist he was angry that seniors had to pay the BBC license fee. It perfectly captures the feel of London at the start of the 1960s: dirty, blackened by coal, and faded. Helen Mirren as well as Jim Broadbent give the characters plenty of warmth and friendly rivalry.

Ocean’s Eleven:

Ocean’s Eleven, Soderbergh’s famous remake of Lewis Milestone’s 1960 film of the same name, is the handsome face of modern heist thrillers. It’s also just plain fun.

It doesn’t try to reinvent the wheel instead, it follows the steps set by Rififi, but it does so with plenty of witty comments, comedic banter, as well as finesse from its signature rat pack, a stellar cast that includes George Clooney, Brad Pitt, Julia Roberts, and more.

In order to plan a heist to steal from three Las Vegas casinos, Danny Ocean gets in touch alongside his old partner Rusty Ryan. Ocean is fresh out of jail and looking for work.

Together, they put together an all-star team with experts in demolition, casino work, surveillance, acrobatics, and other skills. But things get even more dangerous when the team learns that Ocean’s real goal is not only to steal the money, but also to get his ex-wife Tess back from Las Vegas tycoon Terry Benedict.

There’s something charming about Ted Griffin’s short, smooth script and the way the actors walk through fancy settings and make funny comments to each other while pulling off a low-stakes, all-surface, relationships-based plot.

It doesn’t matter if Ocean and Benedict are competing for Tess, Rusty is giving Damon’s Linus advice regarding how to become a successful con man, as well as Tishkoff is the extravagant but poised Las Vegas queen.

Le Cercle Rouge:

Like his previous crime movie, Le Samoura, which began with a made-up Eastern saying, Melville’s next-to-last work tends to create myths. Philosopher-criminals as well as unstoppable cops meet on the lamplit streets of France.

Newly released con Corey is told by a grumpy prison guard upon his last day that there is a possible score at a Paris jeweler, and on his way to the job, he teams up with an escaped prisoner who has taken Corey’s car.

Delon’s stoic antihero doesn’t seem to mind all of these strange coincidences; he acts like he knows he’s part of a plan and that his only job is to provide the action and carefully dramatic final heist that the director wants.

As the director of many heist movies, Melville did better than anyone else to add a cool vibe to the crime genre. But by the time of Le Cercle rouge, which had a simple plot and was shot in colors that were almost all one color, his style was stripped down to a level of asceticism that was almost religious.

Ant-Man:

Marvel was dipping its toes into genre movies as Phase Two turned into Phase Three, a long time ago. Within Captain America: The Winter Soldier, Robert Redford paid tribute to spy tales.

And there was Ant-Man, the fast-paced and very likeable gang heist. The version of Ant-Man that Edgar Wright wanted to direct as well as co-write is one of the most intriguing “what-ifs” in movie history.

Wright as well as co-writer Joe Cornish left some strange marks on the movie, like the needle-drop for “Disintegration” by The Cure in a fight scene. But Paul Rudd and the rest of the gang’s run into the quantum realm remains very charming.