Heat Redux

For all of its strengths, the gritty heist thriller "Den of Thieves" inevitably lives in the shadow of its biggest inspiration

What's the difference between an homage and a rip-off? Typically, it's the care behind the project. Rip-offs are often quick cash-ins; lifting motifs, plots and characters wholesale in an attempt to replicate success. Homages can contain this formula as well, however, there's a certain amount of love and respect for their source of influence. "Den of Thieves" owes the lionshare of its narrative, stylistic choices and archetypes to "Heat"; brazenly leaning into its imitation almost to the point of ripping it off. However, there appears to be enough reverence for the 1995 masterpiece to keep it from veering into tastelessness.

Gerard Butler starts as "Big Nick" O'Brien, a slovenly, boisterous detective who heads a unit of equally colorful cops (which include Maurice Compte, Kaiwi Lyman-Mersereau, Mo McRae and Brian Van Holt) looking to take down the no-nonsense Ray Merriman (Pablo Schreiber) and his crew (Cooper Andrews, Curtis "50 Cent" Jackson and Evan Jones). Nick ends up enlisting the help of Donny (O'Shea Jackson Jr.), the driver for Ray's crew, in attempt to stay one step ahead of his opponent and thwart their next hit. The two warring factions stalemate each other until the climax, all while their personal lives become uncomfortably entangled.

The positives are plentiful, chief among them being the film is highly rewatchable and enjoyable. All of the acting is solid, with Gerard Butler getting to chew scenery like a cheap steak due to his character's larger-than-life machismo. Schreiber serves as a great foil, possessing a level of control and professionalism his "good guy" counterpart lacks. All of the actors look the part, selling the believability of this cops and robbers tale and that helps when things start to get absurd. Overall, it's a welcome addition to the heist subgenre with its own merits and set of twists, some better than others. However, the "Heat" comparisons are inevitable. From its Los Angeles backdrop, to its main antagonist who's more antihero than outright villain, to its protagonist who's great at being a cop and bad at everything else, it was all done better in Michael Mann's crime classic. Even the ending shootout, which takes place amongst civilians is reminiscent of the stylishly minimalist gunfight in "Heat". That's not to discredit director Christian Gudegast or any of the stars and their hard work. After all, if you're going to use a template, why not borrow from one of the best American movies of all time? B-