Things You See In Every Michael Mann Movie

This Friday, one of Hollywood's coolest living auteurs will drop the eleventh opus in his filmography. Michael Mann, the genius behind some of the greatest crime films of all time, is back—albeit inexplicably in January, the most swagless movie release month on the calendar. The release date is apropos though, because we've seen Blackhat, the Super Hacker vs Mega Hacker tech-thriller starring Thor, and well, it's far from Mike's best.

But despite the downward trend created by this and the lukewarm Public Enemies, how much can a legacy that boasts Heat, Collateral, Thief, Last of the Mohicans, and even the very-much-in-need-of-your-reconsideration Miami Vice, really be tarnished? Like any great filmmaker, Mann's world is recognizable through a series of go-to story tropes and filmmaking techniques that enriches each viewing experience with familiarity. Blackhat has all of the moving parts, but the formula doesn't add up to a satisfying result this time. Here are all the disparate elements that compose some of Mann's finest work.

Most notably in: Thief, Heat, Collateral, Blackhat

Being lonely has never looked so cool. This list isn't ranked, but without a doubt, the number one Mann trope is solitude. Whether burglar or cab driver, Mann's protagonist are super-smart, supremely efficient at their particular set of skills, flourishing while also holding it down as the loneliest man in the city. Sometimes their heads are so up their [criminal] careers, they don't even notice how much of a loveless SadBoy existence they actually lead. Think back to that dinner scene early in Heat, when Neil is the seventh wheel at his team's Squad & Fam gathering. The realization is palpable, the thirst for companionship so real that he up and calls Edie, whom he probably intended to cast off as a one-night stand. Which brings us to...

Most notably in: Thief, The Last of the Mohicans, Heat, Collateral, Public Enemies, Miami Vice, Blackhat

Fear not, loners! A lovely lady is en route into your life, and you can pin on her the unhealthy pipe dream of an escape from your dolo routine. That's literally how James Caan's character in Thief sees his main squeeze. A pang of loneliness suddenly has Neil McCauley plotting, in Heat, on an endgame to the burglar life and a vacation to Fiji with Edie. And right before his night goes to shit, Max, L.A.'s most loquacious cab driver, finally gets an exciting prospect when Jada Pinkett's fast-life lawyer finds herself comfortably slowing down in his backseat. Alas, it rarely works out well, and the lady is rarely enough to inspire real change. Edie's still waiting by the curbside.

Most notably in: Heat, Collateral, Miami Vice, Public Enemies

This could've easily been packaged in the Loner slide—that almost every leading Mann is always impeccably dressed in an understated, succinct manner. Then I realized that Neil McCauley and Vincent (Collateral) are literally wearing the exact same alphet. Light-gray suit, plain-white shirt. It's simple, economical, professional. It says everything you need to know about both their careers—and the dour personal lives they lead.

Most notably in: Thief, Manhunter, The Last of the Mohicans, Heat, Ali, Collateral, Miami Vice, Public Enemies, Blackhat

If you don't live and die by your own personal code, you're a fuccboi and have no place in the Mann universe. Everyone, especially the criminals, holds themselves to a strict set of rules, even irl American figure turned Mann protagonist John Dillinger. Going off script courts chaos, and the rules are broken for no one. You thought Neil would repeat his mantra twice throughout Heat and abandon it for something as silly as love? Nah.

Most notably in: Manhunter, Heat, Collateral, Public Enemies

Michael Mann likes cops who could've been criminals. Even if you're rooting for the bad guys in a Mann movie, you always find yourself empathizing with Johnny Law, too, because they're just so damn likable, to the extent that they don't even look like typical Normcore DTs. Mark Ruffalo's doomed cop in Collateral didn't even look like Mark Ruffalo, let alone someone with a badge—not in that sleek all-black-everything GangBanger extraordinaire swag. These lawmen are so trill, they inevitably find themselves respecting, admiring, even empathizing with the super-criminals they're chasing, a fascination that can be traced back all the way to William Peterson playing Will Graham in Manhunter.

Most notably in: Thief, Manhunter, Heat, Collateral, Miami Vice, Public Enemies

What better way for a Cool Loner to get his thoughts off than a nice, scenic drive? Coupled with the director's love for gorgeous nighttime cinematography, Mann has shot some of the most gorgeous cruising scenes. Sometimes they're quiet interludes before the madness and gunfire resumes; sometimes they're frantic lead-up to coffee dates. Think of Vincent and Max quietly slicing through L.A. on their way to shoot the club up when they happen across a lone coyote (symbolism!). It's lowkey one of the best scenes in Collateral.

Most notably in: Collateral, Miami Vice, Public Enemies, Blackhat

Quite simply, no one is killing the digital film game like your boy. His night scenes especially pop with a grainy, handheld approach that's become something like a fingerprint, all the while effortlessly lending suspenseful scenes an added layer of unease. And his nighttime city exteriors? Forget about it.

Most notably in: Heat, Collateral, Miami Vice, Public Enemies, Blackhat

No such thing as a pea shooter in Mann flicks. The violence is never exploitative, but when the guns get drawn, the phrase "heavy metal" always comes to mind. When Mann's behind the camera, streetsweepers and assault rifles ring off like power drills. The shootouts themselves are realistic and endless—save the calculated precision of Collateral's professional hitter Vincent. There's no fancy choreography, as you'd see in a John Woo movie. Just cannons ringing off until one side wins. Like so:

Or...

And who can forget Collateral's instant-classic club free-for-all:

And here's a bonus slide of a few of Michael's favorite things: