The heist film genre, though seemingly straightforward, offers a vast canvas for storytelling. From the gritty realism of “Heat” to the polished charm of “Ocean’s Eleven,” these films bring us into a world where cunning and risk are the currencies of the day. Here, we explore five must-see heist movies, each offering a unique take on the genre, worthy of at least one viewing.

These selections are not just randomly chosen; each film has either garnered critical acclaim upon release or has gained a retrospective appreciation over time. They epitomize the pinnacle of heist storytelling, masterfully highlighting the genre’s allure or cleverly subverting its conventions. These movies promise not only an exhilarating first watch but also rewarding repeat viewings.

Among the notable directors who have explored this genre is Steve McQueen, known for his impactful dramas addressing real-world issues. His repertoire includes “Hunger,” which delves into the 1981 Irish hunger strike, and “Shame,” a poignant exploration of sex addiction. McQueen’s work reached a pinnacle with the Oscar-winning “12 Years a Slave.” However, he shifted gears with “Widows,” a neo-noir heist thriller co-written with Gillian Flynn, the author of “Gone Girl.”

British film director Steve McQueen made his name with provocative, hard-hitting dramas about real-world issues, including the Michael Fassbender-led “Hunger,” about the 1981 Irish hunger strike, and “Shame,” a deeply felt film about sex addiction. Then he made the critically acclaimed “12 Years a Slave,” which would go on to win the Academy Award for best picture. But he went in a different direction for his next film, with “Widows,” a neo-noir heist co-written by “Gone Girl” author Gillian Flynn.

Adapting a British TV series of the same name, this tense and expertly crafted heist film follows four women in Chicago whose husbands are killed in a foiled bank robbery, and are forced to commit one of their own to get out from under their husbands’ debts. It stars Viola Davis, Michell Rodriguez, Elizabeth Debicki, and Cynthia Erivo, with a supporting cast made up of Liam Neeson, Colin Farrell, and Robert Duvall. McQueen assembled a true dream team for this elevated take on a heist film that explores the complex interpersonal relationships between its characters and their social status within the Chicago political system, and by extension, American society as a whole.

Despite this critical acclaim and high pedigree, “Widows” didn’t connect with audiences and now holds the dubious title of being one of the best heist movies you’ve never seen. Do yourself a favor and correct that mistake; you won’t regret it.

The heist genre has been a staple of cinema for nearly 100 years now, and one of the earliest examples also stands as one of the genre’s best to this day. After being blacklisted during the HUAC-era Red Scare, director Jules Dassin was effectively blacklisted from Hollywood. He moved to Europe, where he made “Rififi,” turning Hollywood’s loss into a major win for French cinema.

The film tells the story of Tony le Stéphanois (Jean Servais), who is released from a five-year stint in prison and returns to his old ways of stealing priceless jewels with his accomplices — this time, with the plan to pull off the impossible heist of a highly guarded jewelry shop.

Dassin was not a fan of the novel on which the film is based, and he transformed it into a wonderfully evocative black-and-white movie that slowly builds in tension until it climaxes with a bravura 30-minute jewelry heist that plays out in real time. There’s no music or score to calm your nerves.

Over 70 years later, “Rififi” has stood the test of time, and you cannot call yourself a cinephile unless you’ve watched it at least once.

Michael Mann’s name is synonymous with the heist genre. You could make an entire list of just his filmography, from his Prohibition era “Public Enemies” to the neon-soaked streets of “Miami Vice.” Then there’s his magnum opus, the sprawling cat-and-mouse epic, “Heat.” But it’s his very first film that gets the spot on this list because of how it proves that Mann’s skills with the genre were fully formed from his very first at-bat.

James Caan stars as Frank, an ex-con jewel thief who yearns to live a normal life with his girlfriend Jessie (Tuesday Weld) but ends up trapped under the thumb of a high-powered underworld crime boss (Robert Prosky). Like “Rififi,” Mann is fascinated by the process of a heist, and with “Thief,” he collaborated with real, honest-to-god bank robbers to accurately recreate the mechanical process of breaking locks and stealing diamonds.

When Caan passed away in 2022, Mann heaped praise on his star, telling Variety that “Jimmy was not just a great actor with total commitment and a venturesome spirit, but he had a vitality in the core of his being.” And that vitality shines as bright as a diamond in “Thief.”

Before he starred in Michael Mann’s “Heat,” Al Pacino earned himself a best actor nomination for a different heist movie: Sidney Lumet’s “Dog Day Afternoon.”

Based on the true story of a 1972 robbery and hostage situation, Pacino stars as Sonny Wortzik, a would-be bank robber who finds himself immediately in over his head as their planned heist of a local New York City bank falls apart as soon as they walk through the doors.

Lumet was a prolific director, and in “Dog Day Afternoon,” he opened himself to improvisation for the first time, allowing Pacino and the rest of the cast to deliver electric performances as the chaos of the situation builds and the heist devolves into a hostage situation. Even the film’s most famous scene, in which Sonny wins over the crowd as he shouts “Attica!” and draws a parallel between his struggles and the recent headlines about the Attica prison uprising, was improvised on the set by the film’s assistant director, Burtt Harris. Thanks to these improvisations, the film still feels as alive and relevant today as it did when it first premiered.

On one fateful day, four men go down into the New York City subway and won’t come out until they’re handed $1 million. That is the premise of the stone-cold classic heist movie “Taking of Pelham One Two Three,” one of the 1970s’ most underrated movies.

Where other films get their thrills from barreling through one dizzying set piece after another, “Taking of Pelham” forces you to sit inside the claustrophobic train car with the anonymous robbers, led by Mr. Blue (Robert Shaw). They make their demands to Lt. Garber (Walter Matthau), the man who just so happens to be on the other side of the train’s radio, threatening to kill one passenger for every minute their ransom is delayed. The race is on for the cops to find a way to get everyone out safely away from the robbers, who have a foolproof plan to escape a million dollars richer.

Every minute of this brisk 104-minute run time ratchets up the tension as a perfectly calibrated mission threatens to go off the rails at any moment. Will they get away with it, or will the cops take them down? You’ll have to watch to find out.