In Lift: a first-class robbery from Netflix, Cyrus (Kevin Hart), is a thief who enjoys committing big robberies. But also, to do it for the reasons he believes are correct. So when he receives the offer to carry out one last big assault that will benefit his entire gang, he accepts it without hesitation. What he does not suspect is that what begins as a challenge will become the biggest risk he has ever taken in his life before or after.
The premise is the most recent to be added to the long collection of stories that make up the curious genre of heist movies. Big heists — especially those that challenge the system or are driven by an idea more elaborate than just money — are classics of cinema. But at the same time, a test of ingenuity for directors and scriptwriters. It’s about finding the crack between the security – imaginary or real – of a place of special importance and being able to blow it up. Much more, convincing the potential viewer that what happens on the screen is feasible. Which has made the genre the favorite of lovers of adventure, suspense and, occasionally, drama.
We leave you five movies about big robberies that you can see if you liked it Lift: a first-class robbery from Netflix. From a careful plan to a group capable of blowing up the security networks of any place. This selection will make you laugh, move you and also ask you the big question: is something similar possible? Its most curious element.
Director Spike Lee took the idea of a perfect stealing system and put it to the test in this film with an unusual sense of the twisted. What begins with an assault also ends up being a complicated hostage situation.
But more than that, a game of loyalties and interests that becomes more complex as the hours go by. Specifically, when Dalton (Clive Owen) demonstrates that in addition to being a thief, he is also a refined manipulator. who will not hesitate to force the situation to the extreme.
As always, Lee managed to create an atmosphere that is much more important than the film’s central premise. On this occasion, a complicated risk that turned the idea of robbing a bank into a reflection on public safety and other similar topics. Everything, starting from the conflict of the robbery as something more than a criminal act and yes, closer to a symbolic event.
Ocean’s Eleven
Steven Soderbergh took Ted Griffin’s script and turned this remake from the 1960 classic of the same name starring Frank Sinatra, in a game between friends. Led by George Clooney along with a stellar cast, the film has the same premise as the original. To wit: a group of robbers will attempt an impossible robbery in a Las Vegas casino. That, while the mafia watches closely and the police suspect everyone.
The result is a brilliant story, full of charisma and a mocking sense of humor that sustains the plot even in the most tense moments. Danny (Clooney) is surrounded by the best equipment money can buy. But at the same time, they are also his friends and togetherthey enjoy this enigma of setting off alarms amidst ironies and double meaning jokes. lift It is often inspired by the Ocean’s eleven film
In the end, the robbery is accomplished. But at the same time, something else: the beginning of a saga that reached three feature films and a spin-off. Also, there will be a prequel starring Margot Robbie and Ryan Gosling as Danny’s parents. A family circle of criminals that delights the public.
Catch Me If You Can
Frank (Leonardo DiCaprio), is very young, brash and clever. What has allowed him to live his youth in the middle of a network of intricate scams that become increasingly more complex. He goes from forging a check to posing as a doctor, to disguising himself as a pilot — surrounded by laughing flight attendants — to escape justice. The truth is that this criminal has no limits to his audacityability to escape and especially, to go unnoticed by the law.
Except for Carl (Tom Hanks), who will carry out the biggest chase imaginable to catch Frank. Steven Spielberg turns this game of cat and mouse into a rare mix of suspense and also an unintentional comedy. In the end, Frank will not be able to escape on the last big occasion, but Carl will not catch him as he imagined. Which will lead the premise to unexpected places and a brilliant ending that makes it one of the best examples of the genre. Okay, it’s not the same as Lift, but it’s one of the great classics.
army of the dead
Zack Snyder took a heist movie tradition — including an opulent vault in Las Vegas — and combined it with a zombie movie. The result is this very strange version of the usual big robbery, which, in addition, must defeat a multitude of living dead. But at the same time, face a new breed of monsters, go through a ruined city and finally, a nuclear explosion.
Does it seem excessive? It is. And to that we should add Snyder’s overloaded style, several parallel stories – including one of the redemption of a father and a daughter – and a mystery. Everything gets stranger when, in an extravagant twist, the film moves into science fiction territory, involving the birth of a zombie baby. For its last minutes, the film seems like pieces from many other films. Even so, it is enjoyable and if you dare to take this peculiar tour, you can find the film in the Netflix catalog. In fact, next to Lift.
The secret of Thomas Crown
This classic has everything to be an extraordinary heist movie. And it is, but it is also a kind of seductive thriller taken to the limit. Thomas (a sophisticated Pierce Brosnan) is a millionaire who has everything at his fingertips. But perhaps because of that — or as a consequence of that — he occasionally commits some assaults that are pure ingenuity applied to deductive interpretation. So it ends up becoming an enigma for the different security forces.
For everyone, except Catherine Banning (Rene Russo), who undoubtedly suspects that something is happening at a crime scene that seems prefabricated. The film progresses between the investigation, but also detailing the romance of both characters. A suggestive dimension that makes the film an elegant vision of a traditional assault premise.