Thief

Michael Mann’s first theatrical effort, Thief follows James Caan’s Frank, a professional safecracker, as he agrees to work for a shady criminal (Robert Prosky’s Leo) and subsequently comes to regret that decision. Filmmaker Mann, working from his own screenplay, does an admittedly fantastic job of immediately luring the viewer into the proceedings, as Thief kicks off with a fairly electrifying sequence detailing an intricate job pulled off by Frank and his crew. It’s an almost dialogue-free interlude that immediately sets a tone of gritty realism, with Mann’s intensely cinematic modus operandi heightening the impact of this opening stretch. It’s perhaps not surprising to note, however, that Thief is never quite able to again deliver such monumental highs during its somewhat overlong running time, as the movie, particularly in its midsection, boasts the feel of a deliberately-paced character study that’s peppered with heist-like elements (ie Frank and co. prep for an especially difficult robbery at Leo’s behest). The inherently intriguing nature of Frank’s exploits goes a long way towards keeping things interesting throughout, while Caan’s stellar turn as the volatile protagonist perpetuates the subdued yet often engrossing atmosphere. (It’s clear, too, that Prosky steals every single one of his scenes as the movie’s increasingly sinister heavy.) By the time the predictably (but spellbindingly) violent climax rolls around, Thief has firmly secured its place as an above average spin on a very familiar storyline.

*** out of ****