The problem with "Miami Vice" is that it rips away everything that was iconic, cheesy, cool and fantasy-like with the original TV-series and make it into a gritty, down-to-Earth crime drug movie with little humor. It reuses the most memorable plot-lines from the series but was it truly necessary with all those numerous shower and love-making scenes? The violence is perfect Michael Mann style though.
I've watched the original TV series a long, long time ago on DVD. When I was about to see the movie adaptation, I didn't expect anything. Because I believe that Michael Mann wants to give a new take of the story. MIAMI VICE is a criminally underrated work from Michael Mann. MIAMI VICE is an interesting crime story. It almost become an art movie thanks to its exciting visual. Its digital photography is beautiful...
Digital Underground. The summer "Miami Vice" hit theaters, the last thing I wanted to hear on a soundtrack was Linkin Park & Jay Z's mashup. A decade on, it's now part of how Michael Mann not only documents an era - CNN coverage of the Iraq War, flip-phones, the globalization of the drug trade - but a professional ethos. This is a crime movie with the existential loneliness of a samurai film. Stone cold masterpiece.
As flat as the procedural sting operation plot elements are, as dormant it's with tension and suspense, as seldom are the otherwise phenomenal action setpieces, and as much the romantic elements are like a James Bond-style disposable love story, Miami Vice is watchable for its eloquent mise-en-scene and atmosphere. It's Mann's worst since The Keep, but with so many great ones, that's not saying it's even average.
Claims for its greatness are seriously exaggerated. The night shots look good, the day shots do not. Other directors have made far more interesting and genuinely artful films on a fraction of the cost. What does Mann have to tell us about the duality of undercover life? Pretty much nothing. Some great scenes on speedboats and in cars, but I still remain unconvinced.
Huh, this was not the neon extravagance I was lead to beleive but a radical explosion of post-story, post-character cinema. The agressively pared-back approach and staggering pacing morphs a generic genre script into a Malick-ian montage of modern, digital dread. The more I read about it, the more this seems accidental, but intention is only as important as plot, which is to say not at all.
Farrell looks freakin upset with something throughout the whole movie, maybe his character sucking, like any other. Foxx looks looser, but he ain't got much to work with. The scrip made it easy for me not to care about anything that was going on. Very pretty. Loud guns. Miami Bland
Top Ten countdown – #10 Digital is mood in Miami Vice; its movement, shadows, and colours are unique. This heavy hyper-real DV style, aptly reflects a narrative of gestures that constitutes the (under)world and characters we follow. A noise-heavy indigo sky, moving speedboats in the dark, silent tears at a club. A nightmare they're forced to inhabit, permeated by the tragic notion that in the end nothing has changed.
A perfect example of how a film's greatness is not necessarily in what, but how, it tells/shows. What a great balance of impossible love in the guise of a drug bust movie. What is so great is the restraint Mann has with the touchy-feely love story, which gives it all the more power. And awesome cinematography, combining realism and abstraction! (...and Gong Li's beauty makes me weak in the knees...)