Ricardo Tubbs is urbane and dead smart. He lives with Bronx-born Intel analyst Trudy, as they work undercover transporting drug loads into South Florida to identify a group responsible for three murders. Sonny Crockett [to the untrained eye, his presentation may seem unorthodox, but procedurally, he is sound] is charismatic and flirtatious until – while undercover working with the supplier of the South Florida group – he gets romantically entangled with Isabella, the Chinese-Cuban wife of an arms and drugs trafficker. The best undercover identity is oneself with the volume turned up and restraint unplugged. The intensity of the case pushes Crockett and Tubbs out onto the edge where identity and fabrication become blurred, where cop and player become one – especially for Crockett in his romance with Isabella and for Tubbs in the provocation of an assault on those he loves. —IMDb
Michael Kenneth Mann (born February 5, 1943) is an American film director, screenwriter, and producer. For his work, he has received nominations from international organizations and juries, including those at the British Academy of Film and Television Arts, Cannes and the Academy of Motion Picture Arts and Sciences. He has produced the Academy Awards ceremony twice, first in 1999 with the 72nd annual Academy Awards and second in 2004 with the 77th annual ceremony.
Mann was born in Chicago of Jewish heritage, the son of grocers Esther and Jack Mann. His father was a Ukraine immigrant and World War II veteran and his mother came from a family native to Chicago. Mann was close to his father and his paternal grandfather. He grew up in the Humboldt Park neighborhood and immersed himself in the burgeoning Chicago blues-music scene as a teenager.
He studied English at the University of Wisconsin-Madison, where he was an active member of the Pi Lambda Phi fraternity, and developed… read more
Farrell underplays to the point of coma. Foxx overacts to the point of parody. Doesn't matter. The lush and dangerous atmosphere Mann creates is electric. The opening club scene alone is worth watching this film for.
It's the Mann movie I keep coming back too. It's a film that could barely even register as art house, and would probably find refuge in a video installation at an art gallery. It's an incredible exercise in minimalism, and a truly avant-garde experiment. Flawed, but mesmerizing.
Mann's approach swims between realism and abstraction; deep focus pinpoints the extensions and limitations of identity. There is a fluidity to the narrative that seems to mimic the audiovisual experience rather than vice versa. This is a groundbreaking exploration of cinema's future possibilities (specifically in terms of photography and sound design). Mann is way ahead of his time here.
An exploration of the increasing visual emphasis on the ear in Michael Mann’s work.
Roger Deakins: Film is Dead, Long Live Film.
Three critics discuss Michael Mann’s most recent digital criminal cinema extravaganza.
A circle of New York film lovers gather for an impromptu discussion of Michael Mann’s Miami Vice (2006).
This is one of the first Artistic Action Thriller’s I have ever seen. When it comes to the action scenes the film really kicks it into high gear. The film’s tone is constantly shifting it’s moody and… read review
Wow, this movie just gets better and better each time i watch it. I really cant believe I’m saying this, but its true. And its not a diss too Michael Mann, because i think he’s an amazing filmmaker… read review
Though not Michael Mann’s best work, it’s certainly not as bad as a lot of people would lead you to believe. It’s not a movie heavy on action…instead it’s a drama that’s main focus is to have you… read review