Today we want to look at the greatest movie heists. But beyond simply talking about why these films are great, we will also rank them by the money/monetary value they got away with.

The Great Train Robbery

It may not have all the hallmarks of later heist movies, such as placing great detail on the planning of the job and the psychology of those involved, but The Great Train Robbery pioneered the heist’s cinematic language. Throwing us right into the action, we watch as robbers meticulously enact a plan to halt a train without the police knowing. We then see the bandits rob the train’s occupants, before escaping and eventually being hunted down. Robbery’s structure formed the basis for all cinematic heists that followed and is still a mandatory watch for cinema buffs. We don’t know the worth of everything robbed from the train. However, it was certainly enough to etch this crime into film history.

Widows

Widows is arguably the best heist film of recent years. It not only uses the genre’s codes and conventions in a well-crafted way, but it also takes time to build up the emotional journeys of the central cast and firmly root us in its world. A place where stealing is not just done by individuals but has been part of American policy throughout history, where people of colour are systemically disadvantaged and threats against women are seen as the cost of business. Then there are the fantastic lead performances from Viola Davis, Michelle Rodriguez, Elizabeth Debicki and Cynthia Erivo as the all-women crew. Their heist brings them $5 million, around £4.9 million today. A modest taking, though definitely one that packs enough punch to make it feel earned.

The Killing

The perfect example of a classic heist film. The Killing has it all. A gang, each with their own specialities, intricately plotting to rob a location of a large sum of money, a spectacular robbery set piece and twists no one planned for. All done with a confident, propulsive energy conveyed through great camerawork, editing and writing. Plus it has one of the best conclusions of any heist movie. The prize here is $2 million or £18 million now. Certainly no laughing matter. 

Rififi

Many heist films showcase the job in a stylised way. With fast cutting, compression of time and music used to amplify the situation’s intensity. Rififi flips these tropes upside down by crafting a heist sequence that lasts for over 20 minutes of screen time. During this time, long takes focus on every detail of the action with no music. Other heist films bask in the thrill of the crime; Rififi makes you feel the tension. All of which results in the team netting jewellery worth ₣240 million. Or roughly £31 million today.

Inception

Movie heists are mostly semi-realistic affairs. Inception uses an immaterial method for material gain. Inception’s heist revolves around implanting an idea into the mind of Robert Fischer, heir to an energy conglomerate. The idea? To break up his father’s company. Thereby allowing his competitor to dominate the market. To do this, the inception team must construct several scenarios in Fischer’s dreams to get him to lower his defences and make him susceptible to the idea. With the top two energy conglomerates at the time reporting revenue of between $275.564 – $278.188 billion (£310 – 312.8 billion now), that’s a lot of money for his competitor to sweep up.

Wallace & Gromit: The Wrong Trousers

Leave it to Wallace and Gromit to show us that even light-hearted heists can still be enthralling. Feathers McGraw’s silently sneaky plan to rob the Blue Diamond using techno-trousers, a claw helmet and a sleeping Wallace to hold it all together all adds up to a thrillingly hilarious ride. Although the actual loot is incidental, the Blue Diamond is said to be incredibly valuable. Some even list it as priceless. Not a bad haul for Feathers.

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However, a dominant swell of independent cinema (sometimes called New-Wave Queer Cinema) that took on identity, the intersection between sexuality and race, homophobia, our collective history, the AIDS epidemic, sex, and so much more came to the forefront. Yes, LGBTQ+ independent film left few stones unturned over the past ten years as it portrayed varied and nuanced experiences. Even so, there is still a significant lack of representation of disabled LGBTQ+ folk, as well representation of trans folk and people of colour is still substantially lower than it should be which will hopefully change in the decade to come.

These films from the past 10 years grappled the challenging decade it has been and found hope, anger, and desire in the process. Here are some of the highlights…

‘Pariah‘, dir. Dee Rees (2011) 

Dee Rees’ has become one to watch over this past decade, with her work on HBO’s Bessie and Netflix’s Mudbound, her hazy and fresh style landed her an adaption of Joan Didion’s The Last Thing He Wanted (scheduled for release next year). But it all began with Pariah, adapted from her earlier short film, it is a story of a teenager in Brooklyn navigating identity, first love, and familial pressures. 

‘Weekend‘, dir. Andrew Haigh (2011) 

In this early indie hit, Russell and Glen men meet at a bar and go home together. Over the following days the two battle with the idea of commitment, monogamy, intimacy, and love in Andrew Haigh’s debut film that is simple, subtle, and modern with a mixture of pathos and joy. 

‘Stranger by the Lake‘, dir. Alain Guiraudie (2013)

A French sexual thriller that dared to be bold and vivid, the film utilised graphic portrayals of sex and violence. The film revolves around a murder in a prime cruising spot and a sexual relationship that is complex and dangerous, passionate and risky. Featuring stark nudity, rising tension, and gorgeous cinematography, Stranger by the Lake is a sultry and dangerous ride. 

‘Tangerine‘, dir. Sean Baker (2015)

A genuinely original independent production shot entirely on iPhones, Tangerine is a brash, bold, and initiative film filled with humour and struggle. Kitana Kiki Rodriguez and Mya Taylor star as two sex workers looking for an ex-boyfriend on Christmas Eve in LA, and their performances are deeply grounded and light up the screen with a flurry of energy and presence. Also, it’s the best queer Christmas movie to date!

‘Carol‘, dir. Todd Haynes (2015)

The slow, cold, burn of Todd Hayne’s Carol whipped people into a frenzy in 2015. The adaptation of famed lesbian author Patricia Highsmith’s novel The Price of Salt, the film saw Cate Blanchett’s housewife fall for Rooney Mara’s sensitive shop-girl in a wildly cinematic romance that could put classic cinema to shame. 

‘In Between‘, dir. Maysaloun Hamoud (2016)

The story of three women who share a flat in Tel-Aviv who have to navigate their conservative families and the cultural divide. One that leaves them influenced by the West but living in the Middle East – a situation that brings into question things like religion, sexual violence, tradition, sexuality, and female kinship. The director, Maysaloun Hamoud, had a fatwa issued against her for her frank depictions of sexuality, drugs, and womanhood.

‘Moonlight‘, dir. Barry Jenkins (2016) 

Taking the Best Picture Oscar at the 89th Academy Awards, Moonlight cemented itself into cinematic history. The film explored queer longing and desire from the black masculine perspective in a way that was tender with cinematography that firmly placed male beauty and black men at its centre.

‘120 BPM (Beats Per Minute)‘, dir. Robin Campillo (2017)

Boldly political and deeply enthralling, Beats Per Minute follows the Parisian branch of ACT UP in the 1980’s as they fight for visibility and recognition. It’s an elegy for the people who were lost and visceral protest for them too. Enthrallingly rich, sexual, personal, and queer BPM is queer cinema at its most perfect. 

‘A Fantastic Woman‘, dir. Sebastian Lelio (2017)

Sebastian Lelio brings his hazy glow to the story of Marina (Daniela Vega), a waitress and nightclub singer, who is grieving the loss of her boyfriend while also facing suspicion from the police that she was involved in his death. Vega’s performance is one of the best this decade with nuance and anger rolled into a mish-mash of jubilation and sadness.

‘God’s Own Country‘, dir. Francis Lee (2017)

Set in the Yorkshire countryside, Francis Lee’s protagonists find romance amongst premature lambs and blistering cold. Decidedly dark and moody, the film is beautifully tender with erotic sex in the mud, self-sabotage, and questions of commitment, xenophobia, and love. 

‘1985‘, dir. Yen Tan (2018) 

1985 flew mostly under the radar but packed an emotional punch into its short runtime. Adrian, (Cory Michael Smith) returns home to his family with some news he’s reluctant to tell them. Smith and Jamie Chung, who plays Adrian’s high school best friend, are superbly matched in this tribute to a generation of LGBTQ+ people who were abandoned. Brutally emotional and superbly considered, 1985 is a true revelation.

‘The Miseducation of Cameron Post‘, dir. Desiree Akhavan (2018) 

The decade brought with it a Vice President of America who believed in conversion therapy. Akhavan’s sweet, harrowing, mature, and underrated tale about a group of young people finding each other at that one of those camps was the perfect antidote. Both politically and emotionally engaging, Akhavan blends the format of a teen comedy with the prevalent spectre of right-wing bigotry as the film found joy in the kinship of queer folk, the awkward nature of teenage sexuality, and examined the evil within those that want to convert them.

‘Pain and Glory‘, dir. Pedro Almodóvar (2019) 

No list on Queer Cinema would be complete without Pedro Almodóvar and his deeply personal 2019 film about legacy, mortality, and memory was extraordinary. Through the vessel of Antoni Bandaras, Almodóvar creates a portrait of himself, his losses and his relationships with supreme precision and emotion. It is a master working at the height of his craft and it’s thrilling to watch. 

‘Portrait of a Lady On Fire‘, dir. Céline Sciamma (2019)

Radical and tender, Portrait of a Lady on Fire oozes with longing and passion. It’s part gothic novel and part feminist reclamation of the past. There is a trend of ‘repressed lesbian period dramas’ of late, but this film feels more modern than most movies released in 2019 with its approach to examining female autonomy and gaze, with an exceptional retelling of a famous Greek myth to-boot. A true must-see!

Honourable Mentions: And Then We Danced (2019) / End of the Century (2019) / Can You Ever Forgive Me (2018) / Sauvage (2018) / Paris 5:59: Theo & Hugo (2016) / Certain Woman (2016) / Nasty Baby (2015) / Grandma (2015) / Pride (2014) / Love is Strange (2014) / Lilting (2014) / Keep The Lights On (2012) / Kaboom (2010) 

Also Read: Rebel Without A Pulse, Art Without A Soul

The post The Best LGBTQ+ Films of the Decade (2010 – 2019) appeared first on Big Picture Film Club.