Heist (2001) is a daunting subject for analysis, as is its writer and director David Mamet. It is an example of what I call “semantic screenwriting,” in that it demonstrates that you can put pretty much any nonsensical line into Gene Hackman’s mouth and tell him to spit it back out as if it is the cleverest thing anyone in the room has heard all day, and people will likely assume that it is in fact a juicy bon mot that they just didn’t get.