breaking the bank lee murray movie

The feature told the story of Lee Murray, of Onslow Drive, Sidcup, a cage fighter alleged to have masterminded the heist who flew to Morroco. In the best cinematic news I've heard in some time, Universal Pictures has picked up the fact-based drama Breaking The Bank as a directing vehicle for the. Universal has tapped the helmer for “Breaking The Bank” a based-on-a-true-story heist flick. An armed gang abducted the manager of the depot.

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Gareth Evans Will Direct Breaking the Bank

By Brian Gallagher

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The Raid: Redemption director will tackle this crime tale based on the true story of a UFC fighter who orchestrated the largest heist in history.

The Raid: Redemption director Gareth Evans is attached to direct Breaking the Bank for Universal Pictures. Darren Aronofsky was at one time locked in to direct, but he is no longer involved.

The project is based on the true story online trading brokerage firm "Lightning" Lee Murray, a former UFC fighter who was the mastermind behind a 2006 robbery in Britain, the largest cash heist in history. Kerry Williamson (I, Alex Cross) wrote the screenplay, which is based on the Howard Sounes book Heist: The True Story Of The World's Biggest Cash Robbery and the Sports Illustrated article "Breaking the Bank" by L. Jon Wertheim.

XYZ Films, the company behind The Raid: Redemption, will produce alongside Gareth Evans. No production schedule was given.

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Cage fighter jailed for £53m armed robbery secretly let off repaying fortune he stole

A

cage fighter from London who helped to organise a £53 million armed robbery that was Britain’s biggest cash heist has been secretly let off repaying the fortune he stole.

Paul Allen was jailed for 18 years and was ordered to pay back £1.23 million of the £1.9 million “criminal benefit” he gained from his part in the violent raid on a Securitas depot in 2006.

Yet a judge in a closed court agreed with prosecutors that he should be let off the hook.

The decision is another blow to efforts to force criminal “Mr Bigs” to hand back illicit gains. MPs warned today that public confidence in justice was being undermined.

The Evening Standard has uncovered the case through a Freedom of Information request asking about offenders who have been granted a “certificate of inadequacy” to write off their debts.

Caught: Paul Allen, in the red T-shirt, after being arrested in Morocco with fellow cage fighter Lee Murray, who masterminded the heist

Allen enjoyed a cocaine-fuelled party lifestyle abroad, splashing out on expensive cars, property and breast enhancement surgery for his girlfriend, after helping his best friend mastermind the robbery in Tonbridge, Kent.

The manager of the facility, his wife and young child were kidnapped and subjected to death threats in the raid. Fourteen other staff were tied up, threatened and locked in cages in a “brutal, horrific and traumatic” ordeal lasting many hours.

Allen fled to Morocco soon after. He was extradited to Britain and jailed in 2009. When he was ordered to pay back the £1.23 million he was given a deadline of July 2010 and was told he would face five more years in prison if he failed to meet it. He handed over only £420 and has now had the remainder written off. The extra five years in jail was never imposed.

In 2016 he was already a free man, having served half his sentence. Soon after his release, he was photographed driving a £40,000 Mercedes convertible and wearing a Rolex with an estimated value of £45,000.

A spokeswoman for the Crown Prosecution Service said the case had been “handled in line with the relevant legislation”. Of the judge’s secret decision, she said: “We are unable to discuss it in detail as proceedings were not conducted in public.”

Bob Neill, chairman of the Commons Justice Select Committee, reacted to the case with dismay. “We are having a perverse consequence where the spendthrift criminal gets more out of it than the cautious one and I don’t think that can be very sensible,” he said.

Lee Murray during a fight

“You can understand the public feeling that the person who has committed a criminal offence and blown it all shouldn’t get a greater benefit than the person who happened not to be smart enough to get rid of it.

“If someone has blown it all in such a way that there’s no hope of getting it back, the presumption ought to be that the default sentence applies.”

Mr Neill said that secrecy was also wrong, except in exceptional circumstances, and that confiscation decisions should be taken in public.

He added: “On the face of it, this case flies against the presumption of justice being done in public. That’s important for public confidence. It may well breaking the bank lee murray movie something that the Attorney General needs to look at and the courts need to look at.”

The Securitas robbery in February 2006 was masterminded by another south London cage fighter called Lee Murray, who nearly died months earlier when he was stabbed through the heart during a 15-man brawl outside the Funky Buddha nightclub in Mayfair.

For the raid, Murray and Allen teamed up with several men from Kent, including another cage-fighter, Lea Rusha, Albanian-born Jetmir Bucpapa and car dealer Stuart Royle, to carry out the robbery with the assistance of an accomplice working inside the cash storage depot.

Two of the gang used prosthetic disguises to pose as police officers and ambush depot manager Colin Dixon. After, the gang drove their lorry, filled with half a tonne of cash, to a farm near Staplehurst in Kent. Police later recovered £21 million but £32 million vanished.

Allen and Murray fled to Morocco and were arrested at a shopping centre in Rabat. Allen was described by his barrister as having “enjoyed the high life” in Morocco.

At Woolwich crown court, he admitted conspiring to kidnap, rob and business account with cash app a firearm on the basis that he had been Murray’s “corner man”, not the ringleader, and that he had not entered the depot, kidnapped the manager or his family, or handled guns.

During sentencing, Judge David Penry-Davey said Allen had “played an active part” in preparing the “ruthlessly executed” robbery. The judge added: “This was organised banditry for uniquely high stakes.”

Six people, including Allen, were convicted in this country over the heist. Murray, who has Moroccan nationality, was jailed there in 2010 for his part in the crime.

MORE ABOUTCrimecage fighterproceeds of crimeИсточник: https://www.standard.co.uk/news/uk/cage-fighter-jailed-for-ps53m-armed-robbery-secretly-let-off-repaying-fortune-he-stole-a3922456.html

You know how it goes. The mastermind emerges from the underground, schemes an entertainingly complex and clever scheme, finds his – almost always his – expert hired hands to carry out said entertainingly complex and clever scheme, lays it all out for them and for us. They go do the heist, unexpected bumps in the road threaten to knock everything off course, and we wait to see whether they get away with the loot.

Since they grew out of film noir, heist movies have been one of film's most enduringly excellent genres. Since day one, they've had an absolutely platinum-plated structure, and the great thing about such a solid skeleton is it gives writers and directors a great platform to subvert and innovate while knowing that however far off base they go, it'll be there to keep things moving in the right direction.

There's something deeper than that at work though. In the Sixties, a campier, more playful sensibility in films like Basil Dearden's The League of Gentlemen invited us to allow ourselves to be charmed by the roguish, charismatic schemers liberating cash from people who could afford it. The thieves became the clever ones, the funny ones, the wry, snappy, stylish ones; the law and the guy being ripped off were out to stop their – and our – fun.

That's why it endures: there's an element of wish fulfilment in every heist film, or at least the fun of dissecting where it went wrong, and how you could pull off your own perfect job.


Victoria (2015)

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It's rare that a single-take film turns out to be a genuinely single-take film. (Yes, we're looking at you, 1917.) It's even more rare that that single-take film is actually any good. Sebastian Schipper's twisting, barreling tale of a night out that gets extremely out of hand is exactly that though. Victoria is a Spaniard in Berlin who, after a night in the club, bumps into four young men and shares a spliff with them. As it turns out, they're a gang who are getting ready to do a bank heist. Victoria joins the gang, but soon everything goes badly wrong. Schipper only had budget for three takes: the first was dull, as the actors tried to avoid dropping a bollock; the second was far too wild. Before the last, Schipper gave the cast a "hairdryer speech". It worked.

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Bottle Rocket (1996)

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Wes Anderson's feature-length debut isn't just one heist movie; it's a load of heist breaking the bank lee murray movie in one. Dignan (Owen Wilson, also making his big screen bow) busts his mate Anthony (his brother Luke) out of a psychiatric unit, and they set about several increasingly elaborate heists, starting with one capital one ceo email address Anthony's own family's house. It's a peppy blast of originality which served notice of a unique new voice in cinema. Scorsese was a big fan: he named Bottle Rocket as one of his favourite films of the Nineties, and told Esquire in 200o that he liked how Anderson could "convey the simple joys and interactions between people so well and with such richness".

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Le Cercle Rouge (1970)

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This Parisian thriller packs in a lot of things we like. An extremely stylishly put together heist sequence. Lots of shots of the French capital looking haughtily gorgeous. Alain Delon smoking cigs while wearing a mac. When his Corey leaves prison early after good behaviour, he immediately gets a tip-off about a jewellery shop that's just crying out for a robbing. What's a man to do? The concluding heist sequence is a full 30 minutes long, and the tension is slowly, beautifully ratcheted up.

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Bande à Parte (1964)

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Jean-Luc Godard's muse Anna Karina is Odile, a young woman who meets a guy called Franz (Sami Frey) who knows where there's a gigantic wedge of cash just waiting to be snaffled. Franz ropes in bank of america historical stock price friend, Arthur (Claude Brasseur), but soon the secret's out and the plan has to be stuck on rollerskates if they're going to get anywhere near it. If you like your heist films to come with an intensely French love triangle and shot through with a playful kind of darkness, try Bande à Part. Quentin Tarantino loves it – the dance sequence in Pulp Fiction comes straight from the café boogie in this one.

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Payroll (1961)

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Even before Michael Caine jumped on the East Coast mainline and started smacking Geordies about and demanding his bevs in thin glasses, Tyneside was a place which had a strong tradition of muscular, knees-to-the-asphalt noir thrillers. Payroll is one of the best: four would-be crims plan a raid on a payroll van. Sadly, everything goes horribly wrong and the gang and the vultures who want a slice of their spoils end up scrapping between themselves in the Norfolk wilds. There's a hard edge to it, and Newcastle and Gateshead prove as cinematic a setting as San Francisco or Sicily.

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The Friends of Eddie Coyle (1973)

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Robert Mitchum, at this stage in his career the archetypal menacing predator type after Night of the Hunter and Cape Fear, is a gunrunner for the Irish mob in Boston named Eddie Coyle. When the gang he's supplying jumps a bank manager and makes off with the loot, everything's looking up for Coyle. But a second job goes terribly wrong, and Coyle comes under more and more pressure to deliver sacrifices for a lawman who he's collaborating with to run down a sentence hanging over him. The grinding tensions come to a head in a third, desperate bit for more cash. This is one of Mitchum's best roles: careworn and exhausted, but sinewy and tough.

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American Animals (2018)

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The farcical true story of a gang of four Kentucky college students who stole valuable library books from their pnc bank locations in virginia is the basis of this heist in which the jaw dropping stupidity of the group really makes the story sing. Director Bart Layton, who was behind the 2012 documentary The Imposter, turns a story that could be slapstick into a genuinely dramatic escapade, using both real-life characters and a cast that includes Evan Peters and Barry Keoghan.

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The Town (2010)

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Ben Affleck's sophomore directing effort is arguably his very best, exposing the underbelly of Boston's Charlestown via the story of a gang who don nun masks to rob banks, eventually setting their sights on the big bucks at Fenway Park. Their efforts are compromised when Affleck's character falls for the bank manager they tie up on a job, leaving him torn between the prospect of escaping the town he's trapped in and the childhood friends who won't let him go so easily.

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Jackie Brown (1997)

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The only film which Quentin Tarantino has adapted from another writer's work, this Nineties classic more than holds its own against the director's other films. Starring Pam Grier, Jackie Brown breaking the bank lee murray movie a riff on Seventies Blaxploitation movies like Foxy Brown, in which Grier also starred. After being caught smuggling gun money on a flight, the film's titular air hostess is forced to choose between keeping quiet and doing time or busting her arms dealer boss and cooperating with the police.

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Drive (2011)

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A modern classic of the genre, Ryan Gosling's killer jacket and the scintillating soundtrack made Drive a cultural moment that everyone was talking about. In it Gosling plays a getaway driver slash stuntman who falls in love with the wife of a criminal – an excellent Carey Mulligan – forcing him to reevaluate his criminal allegiances. The violence is dialled up to eleven, especially in one almost unwatchable lift scene, but the more tender moments are equally memorable too.

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Layer Cake (2004)

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Best known for being the screen performance which reportedly nabbed How to open a ncb account online Craig the job as 007, Matthew Vaughn's portrait of England's seedy criminal underworld is nostalgic hit of Noughties excess. Craig is on fine form desert financial credit union atm withdrawal limit a drug dealer who wants out and is forced into two daunting tasks by his unimpressed boss, and who could forget Sienna Miller's dancing in one of the best nightclub scenes in cinema history.

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Sexy Beast (2000)

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Sexy Beast is a work of British cinema history in which a mobster tracks down a former employee to force him out of retirement.Ray Winstone is on fine form as Gal, the breaking the bank lee murray movie ex-criminal who just wants to be left to chain smoke around his shiny swimming pool, and who gets pushed over the edge by his maniac boss in a moment of passion. Sexy Beast functions like a play in two acts: the first setting the scene of the Spanish paradise being invaded, and the second the heist that threatens to bring Gal and his life down. It also features, for our money, Ben Kingsley's most iconic role. Everything from the calamari starters to the villa decor to the short-sleeved shirts is pure 2000.

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Heat (1995)

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Heat might not have been recognised at the Oscars, but the 25 years since its release have seen Michael Mann's crime thriller cemented as the classic of the genre. Robert De Niro and Al Pacino are a formidable pair in this story of a detective trying to catch a seasoned criminal pulling his very last heist. Mann spent nine months shadowing an LAPD officer every Friday and Saturday night in the run up to Heat, responding to calls across the city to get a taste of what the crime there really looked like. The result is a film which exploits every hidden corner of the city in a relentless game of cat and mouse.

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Logan Lucky (2017)

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Steven Soderbergh, the 'master of heist' behind the Oceans trilogy, is at the helm for this dark crime comedy about two men trying to steal their way out of middle of nowhere America. The story follows the Logan brothers, – played by Adam Driver and Channing Tatum – who plan an elaborate scheme to rob a racing circuit in North Carolina, and the tangled web they get caught in through trying to evade the FBI. It also showed, before he did so in Knives Out, that Daniel Craig does funny very well indeed.

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The Usual Suspects (1995)

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The film which did confusing flashbacks and tricks with time before Nolan was at it, and the story which made Keyser Söze a name to be feared, The Usual Suspects is a mysterious thriller which pulls you into a confusing maze. In the wake of a deadly siege on a burned-out ship which leaves 27 dead, just two figures are left to piece together what happened: the problem is how much you can believe of what they tell you.

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Baby Driver (2017)

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A former getaway driver is blackmailed to take part in a job, or else his girlfriend will be hurt, but things go very wrong when their arms dealers turn out to be undercover officers. A gem from Edgar Wright, the cult director behind Spaced and Shaun of the Dead,Baby Driver is a high octane chase which barely lets up, as well as featuring a very strong soundtrack behind all the screeching brakes.

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Reservoir Dogs (1992)

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Six anonymous criminals known only by pseudonyms (Mr Pink, Mr White, etc) attempt a huge diamond steal together, only to have the police show up and sow suspicion about who ratted them out. Harvey Keitel, Tim Roth, Steve Buscemi and Michael Madsen are especially excellent in this cult heist film which is threaded with paranoia and rising tension. Tarantino's first, and still his very best, don't @ us, Reservoir Dogs is a film which has left its fingerprints on all of the heist stories which came after it. A bloody, maniacal laugh, set to the jaunty music of Stealers Wheels.

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Inception (2010)

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Christopher Nolan's thoughtful free number word worksheets for kindergarten story did for the heist genre what he went on to do with Tenet for the sci-fi genre, and it's a testament to how complicated the latter is that Inception has aged as relatively straight-forward to follow. The film follows Cobb (Leonardo DiCaprio) a criminal who steals information by entering his victim's dreams in a realm in which five hours of real time accounts for fifty years in the dream world. Presented with an offer he cannot refuse, Cobb must perform an inception on his competitor's ill child in order to have his criminal past wiped clean.

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Quick Change (1990)

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Bill Murray's jaded Grimm executes the perfect heist along with his girlfriend and accomplice. It's beautiful, it's ingenious, and it why is too much caffeine bad for you when pregnant him a million dollars. Now all he needs to do is jump on a plane and – finally – get out of New York. It's the getaway where things get sticky though. Missing street signs, muggers, paranoid tenants, fires, cab drivers and mobsters all conspire to stop the three thieves from making their flight, but there's still a chance they might get out of the city scott-free.

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Thief (1981)

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Michael Mann's feature debut casts James Caan as the closed-off, emotionally cold jewel thief and former convict Frank, who's increasingly torn between his (extremely dodgy) businesses and his yearning for a normal family life with his new partner Jessie. Frank's life is one of double-crossing, triple-crossing and occasional quadruple-crossing, which is really starting to get him down, and he's ready to get out. Until – of course! – there's one last big score to snag. If you like your heists satisfyingly accurate to life, Thief is your film. The Tangerine Dream soundtrack is a belter too.

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The Killing (1956)

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The first of Stanley Kubrick's mature films is a tightly wound and rock-hard-boiled noir thriller built around experienced crim Johnny Clay (Sterling Hayden, later to become Dr Strangelove's Jack D Ripper) swinging at one last job to set himself up for life. There's $2 million waiting to be swiped at a racetrack, and he pieces together an unlikely crew to do it: a corrupt cop, a sharpshooter, a bookie, a bartender, and a pro wrestler. Clay's wife Sherry is pretty sick of Clay's schemes not delivering her the riches she was expecting, and sets up a competing heist to get the cash from him.

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The Asphalt Jungle (1950)

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This one minted so many bits of the heist movie narrative that it's hard to imagine the genre without it: a hand-picked crew of specialists pulled together by a newly liberated mastermind; the big scene where the brilliant first tn login is outlined; a vault they said couldn't be broken; an invisible security system to be broached; and a gradual unravelling of the plan which tests the accomplices' allegiances. With its hard-boiled script and heavy shadows it's a descendent of noir crime thrillers, and the very young Marilyn Monroe appears, too. She was initially turned down for a small role as a lawyer's mistress, but the way she flounced out convinced director Jack Huston to call her back: she was, he said, "one of the few actresses who could make an entrance by leaving the room".

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Ocean's 11 (2001)

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Well, obviously. The starriest of starry ensembles – George Clooney, Brad Pitt, Matt Damon, Julia Roberts, Lennox Lewis, Don Cheadle's sub-Dick Van Dyke cock-er-nee chewing – get together for Steven Soderbegh's update of the 1960 Frank Sinatra vehicle, intending to empty the vaults of not one, not two, but three Vegas casinos on the same night, using the heavyweight title fight as their cloak and a Chinese acrobat as their dagger. There's not much to be said about it that hasn't already been said, other than that it's probably the film which birthed the Brad Pitt second act, where he looked like a Robert Redford-esque classic leading man: laconic, wise-cracking, and usually with a burger in hand.

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Rififi (1955)

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"Out of the worst crime novel I ever read," Francois Truffaut said of Rififi, "Jules Dassin has made the best crime film I've ever seen." Its greatest sequence, the half-hour robbery set-piece which is entirely dialogue- and music-free, remains an staggering heist linn community food bank itself, a daring bit of surely-they-won't-get-away-with-it bravado which gets away clean every time. Dassin seems to be winkingly saying that he, the hand on the camera, is as much a master of misdirection as the reprobates trying to steal the jewels from a Parisian dealer's apparently impenetrable vault.

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Widows (2018)

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Steve McQueen's classy thriller follows four women whose husbands died at the hands of police during an attempted heist as they attempt to settle their sadly exploded partners' debts. To pay back $2 million to a crime boss the husbands had ripped off, they plan to make off with $5 million using a plan from one of the deceased's notebooks. Led by Viola Davis, Michelle Rodriguez, Elizabeth Debicki and Carrie Coon, Widows is a sparky, intelligent and urgent film whose heroines aren't just out for a laugh – they're just trying to survive.

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Ronin (1998)

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Robert de Niro's mid-Nineties second wind tends be seen to hinge on Heat and Jackie Brown, but Ronin is equally impressive. He's ex-CIA guy Sam, a mercenary who's now leading a bunch of specialists including Jean Reno, Stellen Skarsgard and Sean Bean, who are on the trail of a mysterious suitcase. Jonathan Pryce, playing an IRA operative, has other ideas though. Ronin's grittily convincing car breaking the bank lee murray movie still stand out, and Bean is particularly good as the out-of-his-depth weak link. He gets one of the greatest lines in his filmography too: "Almost a little breaking the bank lee murray movie of raspberry jam, eh!"

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Inside Man (2006)

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Wonderful as Spike Lee's second golden run of films has been to witness, it's slightly gutting that Inside Man stands as his last big-budget mainstream success. The heist itself comes early, and it's a complex one involving thieves dressed as decorators, an elaborate hostage-shuffling system and recordings of the dead Albanian dictator Enver Hoxha. As such, it quickly turns from a howdunnit into a whydunnit, with Denzel Washington and Chiwetl Ejiofor bearing down on Clive Owen's criminal ringleader. As you'd expect of Lee, it's a superior, intelligent blockbuster of a thriller, and nobody shoots New York with the energy and wit that he does.

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Set It Off (1996)

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Four friends in LA (Queen Latifah, Jada Pinkett Smith, Vivica A Fox and Kimberley Elise) are at rock bottom, scrubbing floors together for a pittance. After a police shooting, they decide to take their destinies into their own hands, robbing a string of banks with some insider info and stacking up a pretty gigantic wedge apiece. But after they're double-crossed, they're drawn back in for one last hoorah. F Gary Gray's film feels fresh still, and though the first half hour is a little up and down, things quickly kick into gear.

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Dog Day Afternoon (1975)

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At the outset of Sidney Lumet's film, Al Pacino's gang look like the kind of take-no-prisoners bruisers common to the heist genre. But then, almost immediately, their plan completely falls to pieces. They're no kind of criminal outfit. They're a rag-tag bunch of misguided chancers. Over the course of 12 hours, Pacino's Sonny accidentally becomes a counterculture folk hero while breaking the bank lee murray movie to get money together for his lover's gender-affirmation surgery and gradually losing his marbles as he keeps multiple plates spinning.

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The Lavender Hill Mob (1951)

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Every British heist film which followed The Lavender Hill Mob owes it an enormous debt. The charming, urbane mastermind character probably hit its absolute peak with Alec Guinness's Henry Holland. Sitting in a Rio de Janeiro bar, he recounts a big job he did in London. Holland has been an honest John for 20 years, looking after gold bullion deliveries, until a long-brewing plan to make off with some finally finds its last missing piece. It's an Ealing Studio lark, but viewed 70 years later, there's a darker undercurrent too. Like other British post-war crime thrillers like Night and the City, the location shooting in London shows not a triumphant victor of war, but a bomb-site city still dragging itself, disfigured and sad, out of the rubble.

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Bound (1996)

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Even before the Wachowskis made The Matrix, they were bending the rules. Their debut feature takes a pulpy heist set-up and runs with it, and much like The Matrix, it's now far more obvious that the Wachowskis laced the whole thing with allusions to the lesbian and trans experiences. Bound riffs on the traditional gender roles of the heist genre, casting Gina Gershon as Corky, the archetypal hard nut seduced by Violet (Jennifer Tilly) and convinced to steal from her mob boss boyfriend. Corky and Violet are constantly underestimated by the men around them, and the directors later said that everyone in Bound is fighting against the "sort of trap that they were making out of their lives". It's a stylish, confident opening to a mobile homes for sale in raleigh nc by owner filmmaking career.

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Dead Presidents (1995)

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This is one of the films which plays most freely with the heist structure. Unusually, we start at the aftermath of the job itself, with burning dollar bills and a sense that everything has spun out of control, before whipping back to 1968 to explore exactly how these men came to be so desperate that they had to hit a bank.

The Hughes Brothers's direction is expressive and comes with an emotional wallop – there's an especially extraordinary jump cut which takes Larenz Tate's Anthony from sprinting across back yards in the Bronx to sprinting through the jungle of Vietnam. It's about a lot more than just the job – and turns a heist film into a treatise on how America mistreated Black veterans and communities after their return to an ungrateful nation.

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The Taking of Pelham 123 (1974)

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Walter Mathau is the bored, grumpy Lieutenant Garber, who finds the tedium of the New York Metro office shattered when a group of identically dressed and heavily armed men steals a subway train. The gang, led by Robert Shaw's icily psychopathic Mr Blue, want a million dollars. How do they plan to get away with the money from hundreds of feet under the city? Garber and his men's bone-dry wit puts you solidly on their side, but it never undermines the film's slowly ratcheting tension and the casual brutality of the hijackers. It's incredibly light on its feet, full of character, and the funk soundtrack really, really kicks.

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Источник: https://www.esquire.com/uk/culture/a34051062/heist-movies/

Darren Aronofsky To Make A Gritty Heist Movie

It looks like writer/director Darren Aronofsky is going to be following up his brilliant 2008 wrestling pic, The Wrestler, with a film based around, "the daring robbery of the Securitas Depot in Tonbridge. thought to be masterminded by former mixed martial arts fighter and UFC star ‘Lightning' Lee Murray." The indie thriller is being set up for Aronofsky to both direct and produce.

Screenwriter Kerry Williamson (adapter of the upcoming Alexander Payne film, Fork in the Road) is adapting the script from an underlying rights package which includes two separate sources: an article in Sports Illustrated from April 14th 2008 entitled Breaking the Bank (written by John Wertheim), and from a non-fiction book called Heist: The Inside Story of the World's Biggest Robbery (by Howard Sounes).

The title of the latter source isn't for nothing: the real life London heist is valued at around $86 million (or £53 million to use the native currency), which is the largest in British crime history. An interesting thing to note is that one of the men said to be behind the robbery is "Lightning" Lee Murray, a British-Moroccan mixed martial arts fighter. Wikipedia states that when a film based around the robbery was first conceived, it would include some aspects of Murray's life, including his UFC fighting, on top of the actual robbery stuff. However, there's been no word on whether that's still the case in over a year, especially now with Aronofsky involved.

Anytime Aronofsky's name is attached to a new project, it instantly has my attention. Even if I didn't care all that much for his third effort, The Fountain (ambitious as hell and gorgeously shot but too muddled and confusing for its own good IMO), I have loved every one of his other movies, particularly Requiem for a Dream (one of my all time favorites) and last year's "Should have been nominated for Best Picture," The Wrestler.

Robbing a huge amount of cash (from behind a camera, that is.) is new territory for Aronofsky, but I've no doubt he'll make something at the very least interesting out of it.

He'll have to do a lot to top the opening of The Dark Knight, though. Am I right or am I right (or am I right)?.

Will this be Aronofsky's next project? He already has the supernatural thriller, Black Swan lined up (set to star Natalie Portman), and for a while, he has been rumored to direct the remake of Robocop. I just wonder which of the three will be his top priority (Robocop is said to be far from shooting due to MGM's money problems). To be honest, I'd be happy with any of them, as I'm just happy to see Aronofsky make more movies.

What do you think of Aronofsky directing a heist movie, particularly one based directly on a real one? Are you a fan of the director's work and breaking the bank lee murray movie you think he is suited to this type of film?

There's currently no title or release date set for Aronofsky's heist film, but it is being produced by XYZ Films, Inc. Studios and Protozoa Pictures (the latter has partnered with the first two).

Sources: /Film and Variety

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About The Author
Ross Miller (1266 Articles Published)

Scottish born Ross Miller has been a movie fan ever since he can remember. He is a fan of all types of cinema from drama to action, comedy to western, thriller to sci-fi and almost everything else in between (although he has a general dislike for most musicals and romantic comedies). He cites some of his favorite movies as Pulp Fiction, The Big Lebowski, Psycho and Mulholland Drive but finds himself annoyingly garnering new favorites almost every other week. His favorite directors include David Lynch, Quentin Tarantino and Alfred Hitchcock. He describes himself as a writer and a fan, a fan and a writer - but not always in that order.

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Источник: https://screenrant.com/darren-aronofsky-heist-movie/

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THE RAID Director Gareth Evans to Helm Heist Drama BREAKING THE BANK

By Adam Chitwood

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Gareth Evans to Direct BREAKING THE BANK. The Raid director Gareth Evans will helm the heist drama Breaking the Bank for Universal Pictures.

Director Gareth Evans wowed audiences with his small budget Indonesian action film The Raid (titled The Raid: Redemption for US audiences), and now Universal Pictures wants him to tackle a heist drama.  Deadline reports that the studio acquired the fact-based drama Breaking the Bank as a directing vehicle for Evans.  The story is based on the book Heist: The True Story of the World’s Biggest Cash Robbery and the Sports Illustrated article Breaking the Bank, and tells the real story of former UFC fighter “Lighting” Lee Murray, “a mixed martial arts street brawler who masterminded the largest cash heist in history in England in 2006.”

Evans’ talent behind the camera was more than impressive in The Raid, and I’d be interested to see how he handles a film that veers towards the more dramatic side.  He’s set to direct a sequel to The Raid called Berendal in what’s planned as a trilogy.  Evans is also working as a producer on the American remake of The Raid.  Hit the jump to watch the trailer for Evans' excellent The Raid.

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About The Author
Adam Chitwood (15946 Articles Published)

Adam Chitwood is the Managing Editor for Collider. He's been working for Collider for over a decade, and in addition to managing content also runs point on crafts interviews, awards coverage, and co-hosts The Collider Podcast with Matt Goldberg (which has been running since 2012). He's the creator and author of Collider's "How the MCU Was Made" series and has interviewed Bill Hader about every single episode of Barry. He lives in Tulsa, OK and likes pasta, 90s thrillers, and spending like 95% of his time with his dog Luna.

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Источник: https://collider.com/gareth-evans-breaking-the-bank/

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