Any personal investigation into the decline and fall of Burt Reynolds would have to include Heat, a 1986 film which eared the star a cool $2 million. Reynolds had decided, perhaps a half dozen films too late, that the ‘man with a car’ trope had been overdone, and was looking for more mature roles. Both Stick and Heat demonstrate that his stardom was considerable enough to bring in a team of top talent; William Goldman adapts his own novel here, while super-producer Elliot Kastner (Where Eagles Dare, The Long Goodbye, Angel Heart) produces. The opening sequence is pretty striking with Nick Escalante (Reynolds) hitting on a woman in a bar, only to be badly beaten by her wimpy husband. It’s soon revealed that this is a set up job, and that Escalante is being paid to make the husband look good. Establishing that our central character is happy to debase himself for cash is a strange way to start, and things get odder when Nick dons a ridiculously garish pimp outfit to avenge a woman Holly (Karen Young) who has fallen foul of a local crime boss DeMarco (Neill Barry). Nick pulls soon lamentable slow-mo kung fu moves and enables Holly to humiliate DeMarco by taking a knife to his genetalia. A side-plot involves Nick working as a bodyguard/chaperone to a gauche young man (Peter McNichol), although given how sleazy the whole enterprise is, it’s hard to imagine Nick’s influence being a positive one, and the way the stories are blended at the climax is crude to say the least. Heat went through several directors, with Dick Richards allegedly quitting after Reynolds punched him in the face. Given the atrocious fight-scenes here, a punch from Reynolds wouldn’t have much impact; a scene where he karate-kicks a light-bulb out if its socket is utterly farcical. And Nick’s habit of carrying his jacking on his shoulder by one finger makes him look like a male-model. And yet…Goldman was one of the Hollywood greats, and there’s some interesting scenes, notably a long meditation on gambling that transfers well to the screen. And even the confrontations between Nick and DeMarco have some latent menace; this is a small-scale, nasty but bluntly effective crime story, quite different from Goldman’s other work, but with evidence of his unique style. With support from Howard Hesseman, Heat isn’t exactly a classic, and was probably worth remaking as Wild Card with Jason Stratham, but there are treasures amongst the ruins for fans of Goldman’s gift for character.