the time thief movie review

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After years in prison, ace safe-cracker Frank owns a car dealership and a cocktail lounge, which are fronts for high-stakes jewelry heists. He wants to complete one last big heist for the Mo... Read all After years in prison, ace safe-cracker Frank owns a car dealership and a cocktail lounge, which are fronts for high-stakes jewelry heists. He wants to complete one last big heist for the Mob before he goes straight. After years in prison, ace safe-cracker Frank owns a car dealership and a cocktail lounge, which are fronts for high-stakes jewelry heists. He wants to complete one last big heist for the Mob before he goes straight.

• Michael Mann
• Frank Hohimer
• Tuesday Weld
• Willie Nelson
• 192 User reviews
• 112 Critic reviews
• 78 Metascore
• 2 wins & 6 nominations

Top cast 52

• (as James Belushi)

• (as W.R. [Bill] Brown)

• Large Detective in Suit
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• Trivia After The Godfather (1972) , this was James Caan 's favorite film of his own. He had stated that his monologue in the diner was the scene of which he was most proud in his career.
• Goofs Frank's mentor at the steel mill said, "Seven-, Eight-thousand degrees. Portable equipment! Sonny, if I can build it, it's going to be a son-of-a-bitch to use." Given that and the small hole cut at the top of the elevator shaft, getting into the vault room with all the welding equipment, oxygen and acetylene tanks would not have been easy but they could have winched it down. When planning the heist, it is mentioned they would be spending 16 to 18 hours inside the building.

Okla : Lie to no one. If there 's somebody close to you, you'll ruin it with a lie. If they're a stranger, who the fuck are they you gotta lie to them?

• After the second heist, the scene of Frank lighting up a cigarette and nodding to himself has been shortened (-00:02).
• The cut from Frank nodding to the shot of the beach is no longer in sync with the music, instead it cuts to the beach before the music cue.
• A slow motion shot of Jessie ( Tuesday Weld ) holding the baby on the beach is absent (-00:07).
• The initial shot of the waves in the above scene has been slowed down (00:09).
• The shot of Frank taking a box from a shelf before telling Jessie to leave has been shortened (-00:03).
• During the scene where Frank is telling Jessie to leave, her line "We just disassemble it and put it back in a box like an erector set you just send back to a store?" has been changed to "We just disassemble it and put it back in a box?"
• The last shot of Frank's collage has been shortened (-00:02).
• The speed of some of the shots during the shootout has been altered; the shot of Attaglia ( Tom Signorelli ) falling to the ground and the shot of Frank falling after Carl ( Dennis Farina ) shoots him have been sped up (-00:04), whilst the shot of Carl falling back into the bushes has been slowed down and edited slightly differently (00:02)
• Connections Featured in Sneak Previews: Rockshow, The Final Conflict, Thief, The Trials of Alger Hiss (1981)
• Soundtracks Turning Point (uncredited) Written by Leo Graham Performed by Tyrone Davis

User reviews 192

• Mar 26, 2006
• How long is Thief? Powered by Alexa
• What are the differences between the Theatrical Version and the Director's Cut?
• March 27, 1981 (United States)
• United States
• Violent Streets
• Chicago, Illinois, USA
• Mann/Caan Productions
• See more company credits at IMDbPro
• $5,500,000 (estimated)
• $11,492,915
• $11,494,812

Technical specs

• Runtime 2 hours 3 minutes
• Dolby Stereo

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Controversial Trump biopic ‘The Apprentice’ lands U.S. release date before election day

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Here is one October surprise you can put on your calendar now: The Donald Trump biopic “The Apprentice,” which set tongues wagging when it premiered at the Cannes Film Festival in May, has secured theatrical distribution by Briarcliff Entertainment and will hit theaters on Oct. 11, less than a month before the presidential election.

Ahead of its U.S. release, “The Apprentice,” which stars Sebastian Stan as the real estate tycoon turned reality TV star and politician alongside Jeremy Strong as his notorious attorney and mentor Roy Cohn, also has been rumored to be among the surprise additions to the lineup at the Telluride Film Festival, which kicks off Friday, allowing North American audiences their first look at the film.

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At a news conference at Cannes, Abbasi defended his film, saying, “It’s time to make movies political again.” He brushed aside Trump’s threats to block the film. “Everybody talks about him suing a lot of people,” Abbasi said. “They don’t talk about his success rate, though.”

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Thief Review

01 Jan 1981

NaN minutes

As a young screenwriter, working on a failed draft of Dustin Hoffman’s Straight Time, Michael Mann took a trip to Folsom Prison in California. “The colour comes out of the research,” he explains, the scholarly expert to James Caan’s wiseguy on this Blu-ray’s odd-couple commentary. Off the back of that trip, Mann wrote two screenplays at the same time: Heat and Thief. These detailed, measured, almost philosophical studies of the lives of two crack burglars and ex-cons, set in different cities, in vastly different decades, remain clear companion pieces and the calling cards of Mann’s feature-film depictions of the clockwork of crime. If Heat was to become his signature film, it was Thief that unrolled the blueprint for Mann’s meticulous aesthetic.

Bathed in both the jewellery-box shimmer of nocturnal Chicago, looking magnificent in a new Mann-supervised 4K transfer, and the dated yet fitting synth score by Tangerine Dream, we trace Caan’s spiritually worn safecracker, Frank, in his attempts to retire and get himself a wife, kids and a regular-type life. He just needs to take one last job… Where the Chicago Mafia are just around the corner.

More than with Heat’s Neil McCauley, Thief portrays the dehumanising effect of prison. Even Frank’s attempt to woo coffee-shop waitress Tuesday Weld feels like a man planning a score. In Folsom, Mann became fascinated by the demeanour of the high-end thieves. How it was all about discipline. There is not a single contraction in Frank’s lines. “Talk very slowly and distinctly,” explains Caan, “and you never have to repeat yourself.”

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Why You Should Still Care About ‘Bicycle Thieves’

On the unforgettable heartbreak and enduring pleasures of an Italian neorealist masterpiece.

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By A.O. Scott

“People should see it — and they should care.” Those are the concluding words to one of the more passionate raves in the annals of New York Times film criticism: Bosley Crowther’s 1949 review of the Italian movie introduced to American audiences as “ The Bicycle Thief .”

The English title has since been adjusted to reflect the original. It’s “Bicycle Thieves” (“Ladri di Biciclette” in Italian) not only because more than one bike is stolen, but also because the cruelty of modern life threatens to make robbers of us all. More than 70 years after Crowther’s enthusiastic notice — during which time Vittorio De Sica ’s fable of desperation has been imitated, satirized, analyzed and taught in schools — I’m tempted to let my predecessor have the last word.

But why should you see it, or see it again? Why should you (still) care? These are fair questions to ask of any consensus masterpiece — skepticism is what keeps art alive, reverence embalms it — and especially apt in the case of “Bicycle Thieves.” The movie is about seeing and caring, about the danger of being distracted from what matters. The tragedy it depicts arises partly from poverty, injustice and the aftereffect of dictatorship, but more profoundly from a deficit of empathy.

Based on a book by Luigi Bartolini, with a script by Cesare Zavattini — written, as Crowther noted, “with the camera exclusively in mind” — “Bicycle Thieves is a political parable and a spiritual fable, at once a hard look at the conditions of the Roman working class after World War II and an inquiry into the state of an individual soul. The soul in question belongs to Antonio Ricci, a lean, handsome, diffident man who lives with his wife, Maria, and their two young children in a recently built apartment that lacks running water.

At a time of mass unemployment and widespread homelessness, the Riccis are relatively fortunate, and as the film begins, luck seems to be smiling on them. Antonio is picked out of a throng of job-seekers and offered a position pasting up advertisements. He needs a bicycle, and Maria pawns the couple’s bed linens — one set has never been used — so her husband can get his trusty Fides out of hock.

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The Book Thief

"The Book Thief"

Has the use of Nazis in movies reached the point of being pornographic? While some observers might say that line was crossed long ago, others may find that conclusive proof arrives in Brian Percival’s “The Book Thief,” based on an international bestseller that The New York Times jibed as “Harry Potter and the Holocaust.” Here, of course, the kind of pornography that’s meant isn’t erotic (there are only coy glimmers of that) but sentimental – historic horror enlisted in the cause of facile fantasy.

If you go to a bookstore looking for Markus Zusak’s novel, the movie’s source, you’re likely be directed to the Young Adult or Teen Fiction sections, which explains a lot about the movie’s appeal, and lack thereof. Like a kid-friendly mulch of elements cribbed from “The Diary of Anne Frank” and “Slaughterhouse-Five,” the film conceivably could play well to an audience of 12-year-olds and their grandparents. Other adults, though, are more apt to find the proceedings an occasion for fits of squirming and eye-rolling.

This is the movie, after all, that’s narrated by Death, a device that you can imagine possibly working in a Hollywood film of the ’30s or ’40s, but hardly since. What’s the Grim Reaper doing here, besides nudging along the exposition and dropping ironic bon mots? Obviously, he serves a purpose much akin to that of the movie’s impeccably costumed but barely differentiated Nazis: to attempt giving some thematic ballast to a tale so wispy and ungrounded that otherwise it might float away.

The center of that fiction is Liesel ( Sophie Nelisse ), one of those spunky young heroines that keep the Young Adult industry afloat. When Death first introduces her, in 1938, she is on the run with a fugitive mother and a little brother who dies in the first scene. Soon after, Mom vanishes over the horizon and Liesel is taken in by a good-hearted provincial couple, kindly Hans ( Geoffrey Rush ) and crusty-but-lovable Rosa ( Emily Watson ). Was the girl’s mom, as is hinted, a communist? Why would this couple, who barely have enough to eat, take in an unknown child to care for? Such are the questions the movie ignores as it gallops along to history’s accelerating drumbeat.

Here’s another: How is it that Liesel, mocked by her new schoolmates for being illiterate, quickly morphs not just into a reader but one so adept and voracious that she’s soon swiping books from the local burgermeister’s library? (This valorization of reading is a transparent come-on in many books aimed at young readers.) Whatever its source, her newfound passion is one she shares with Max ( Ben Schnetzer ), a young Jewish guy the kindly couple hide in their basement. And of course, the Nazis hate books, as they demonstrate by burning a heap in the town square.

Our heroine’s bookishness, meanwhile, is mainly a source of bemusement to Rudy (Nico Liersh), the flaxen-haired neighbor boy who befriends and dotes on her. In a different, more reality-based movie, their relationship would be a coming-of-age romance. But though the characters here age from 13 to 17 during the story, at the end they look exactly like the barely pubescent kids they were when it started, and the troubling excitements of eros never arise.

That ostensibly strange fact is perhaps explained less by the obvious constraints of filming the same actors in a short production schedule than by the have-your-cake-and-eat-it-too logic that guides so many fantasy narratives. In this realm, people supposedly grow up, yet at the same time remain magically innocent and unchanged. Likewise, history: the mean old Nazis hound Max and march sad-looking Jews down the street, but we never see what happens to those Jews—they remain vaguely wistful images divorced from the cruel reality of their corporeal fates.

While director Percival (“Downton Abbey”) elicits estimable performances from his cast, especially Nelisse, Rush and Watson, the visible world he embeds them in looks like a set from an old studio movie or a ’50s TV sitcom. Heaven Street, the provincial thoroughfare is called, and its airbrushed quaintness is as dreamily reassuring as John Williams’ score, despite (or because of?) the heavily fetishized Nazi flags that seem to festoon every available inch of screen space.

In the end, there’s a distinct air of solipsism to this tale. To be sure, bombs fall, death ensues, and Heaven Street briefly appears rather hellish. But Liesel undergoes no discernible transformation, and that seems to be the point: History may be awful, but a young heroine’s spunkiness can overcome anything. Thus does actual tragedy get reduced to the role of kitschy backdrop, a transposition of true obscenity.

Godfrey Cheshire

Godfrey Cheshire is a film critic, journalist and filmmaker based in New York City. He has written for The New York Times, Variety, Film Comment, The Village Voice, Interview, Cineaste and other publications.

• Sophie Nélisse as Liesel Meminger
• Ben Schnetzer as Max Vandenburg
• Joachim Paul Assböck as SS Officer
• Geoffrey Rush as Hans Hubermann
• Emily Watson as Rosa Hubermann
• Kirsten Block as Frau Heinrich
• Matthias Matschke as Wolfgang Edel
• Nico Liersch as Rudy Steiner
• Sandra Nedeleff as Sarah
• Brian Percival

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‘Beetlejuice Beetlejuice’ Review: Tim Burton’s Lightweight Sequel Works as Ghostly Fan Service

Michael Keaton, Winona Ryder and Jenna Ortega star in a sequel that's no "Beetlejuice," but it's got just enough Burton juice.

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Back in 1988, “ Beetlejuice ” was a comedy, a ghost story, a high-camp horror film, and a macabre funhouse ride, all driven by a new kind of palm-buzzer freak-show prankishness. I first saw the movie at a Saturday-night sneak preview, before anyone knew a thing about it, and by the time it was over it was clear that the director, Tim Burton , was going to be a superstar who ruled over his own weirdly ardent world of ghoulish mockery.

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As a result, it’s one of those sequels that spends a lot of time looking back. The film opens with the tingle of Danny Elfman’s jumpy ghost music, along with another flyover shot of the picturesque town of Winter River, Connecticut, where Winona Ryder ’s Lydia Deetz, the former goth teen who interfaced with the spirit world, is now a psychic mediator who hosts her own hunt-for-the-paranormal television show entitled “Ghost House.” Lydia still wears her hair in spiky bangs, but where you might expect her to have relaxed into middle age, the way Ryder plays her she’s more distraught than ever. Maybe that’s because her TV-producer boyfriend, Rory (Justin Theroux), is a fatuous sleaze who speaks in progressive therapeutic bromides to cover his flagrant opportunism. Or maybe it’s because her daughter, Astrid ( Jenna Ortega ), has nothing but contempt for her mother’s ghostly preoccupations, which she thinks are sheer delusion.

Catherine O’Hara, winningly overwrought as ever, is back as Delia, Lydia’s narcissistic artist stepmother. And to spin past any awkwardness over former cast member Jeffrey Jones (who is now a convicted sex offender), his character, Charles — Lydia’s father and Delia’s husband — is given a claymation segment that ends with him being chomped by a shark; the character then spends the rest of the movie skulking through the afterlife as a blood-spurting trunk without a head. As for Keaton’s title pest, he keeps popping up in Lydia’s sightlines, and it’s not long before he’s summoned. Keaton, at 73, invests him with that same obscene gnashing energy and throwaway scuzzball cunning — and, in fact, Beetlejuice figures out another way to coerce Lydia into marrying him. It’s all hooked to the fact that Astrid has fallen for a sweetheart of a dude in her class (Arthur Conti), who turns out to have a very dark secret.

The movie doesn’t come entirely alive until the scene where Beetlejuice, acting as Lydia and Rory’s “couple’s therapist,” literally spills his guts, then produces an infant version of himself — a baby as disquieting as the crawling-on-the-ceiling one in “Trainspotting.” A gambit like this exists mostly for its own agreeably sick sake, and that, in its way, is the “Beetlejuice” aesthetic: Tim Burton making this stuff up simply because it tickles his naughty fancy. At least one thing he has made up is a bit cringe: the punning use of “Soul Train,” complete with a boogie-down chorus line of ’70s funk dancers (which in the movie becomes a train for dead souls — get it?). And the plot has even more of the balsa-wood quality that the Alec Baldwin/Geena Davis ghost plot in “Beetlejuice” had.

Reviewed at Venice Film Festival (Out of competition), Aug. 28, 2024. MPA rating: PG-13. Running time: 104 MIN.

• Production: A Warner Bros. Pictures release, in association with Domain Entertainment, of a Tim Burton, Tommy Harper, Plan B Entertainment, Marc Toberoff production. Producers: Marc Toberoff, Dede Gardner, Jeremy Kleiner, Tommy Harper, Tim Burton. Executive producers: Sara Desmond, Katterli Frauenfelder, Alfred Gough, Miles Millar, Larry Wilson, Laurence Senelick, Brad Pitt.
• Crew: Director: Tim Burton. Screenplay: Alfred Gough, Miles Millar. Camera: Haris Zambarloukos. Editor: Jay Prychidny. Music: Danny Elfman.
• With: Michael Keaton, Winona Ryder, Catherine O’Hara, Jenna Ortega, Justin Theroux, Willem Dafoe, Monica Bellucci, Arthur Conti, Nick Kellington, Santiago Cabrera, Burn Gorman, Danny DeVito.

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Percy Jackson & the Olympians: The Lightning Thief

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Watch Percy Jackson & the Olympians: The Lightning Thief with a subscription on Disney+, Hulu, rent on Fandango at Home, Prime Video, Apple TV, or buy on Fandango at Home, Prime Video, Apple TV.

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Though it may seem like just another Harry Potter knockoff, Percy Jackson benefits from a strong supporting cast, a speedy plot, and plenty of fun with Greek mythology.

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