Miami Vice

An extraordinarily intelligently shot blockbuster that is brought down by a weak screenplay and ostentatious dithering outside the mainstream of traditional detective action. In my opinion, this is the second absolute biggest advantage of the film – I can think whatever I want about the handheld camera, but it is justified in the service of Michael Mann. The atmosphere cuts and nice edge with its rawness and the great musical undertone gives it a modern tempo. The screenplay, unfortunately, is inexcusable. Too little room for character profiling, a boring story structure and no twists – even the excellent Mann can't bring tension and spark to Miami Vice. But just when you think that primarily effects are expected of a film with a budget of 135 million dollars, this authentic story about two guys on the edge of the law becomes a lot of fun. Not as an action movie, but as a raw psychological drama without loops and phrases. I give it a weaker five stars. (30/06/2009)

The psychology that is such an integral part of Mann’s masterpiece Heat is unfortunately lacking in Miami Vice, though for understandable reasons. This is a summer movie, after all. With the exception of a few dialogue gems, the screenplay is just a run-of-the-mill crime thriller and the film’s dynamics don’t even come close to living up to the promise of the high-octane trailer. However, maestro Michael Mann managed to turn such shit into a flick with a few memorable highlights. For me, those are Colin Farrell and Li Gong’s first ride together in a speedboat with Moby providing the musical accompaniment, Mann’s traditional, inimitable tactical and realistic approach to action and the poetics of the ending, from which no one emerges as a clear winner. (17/08/2006)

I can't remember the last time I was so worried about the outcome, while also being so excited about it. Mann maintains his excellent criminal standard and at the same time takes great care not to repeat himself. Miami Vice is not as magnificent of an action movie as Heat, nor does it contain as much irresistible sophistication as Collateral, and yet it is unique. Surprisingly, handheld camera works very well for Mann, and Colin Farrell is his best accomplice in building the atmosphere. When I add the well-constructed soundtrack and the unforgettable, nerve-wracking finale, it becomes another masterpiece from the director. (21/09/2006)

I’ve gotten used to Mann's digital camera, but it doesn't change the fact that Miami Vice would look much better if it was shot the old fashioned way. However, you are thrown into the story in a quite unusual, or almost experimental way. You won't find any opening credits or movie titles at the beginning. You simply find yourself in the middle of the action, thrown into the deep-end, which not every viewer can handle. But if you are willing and pay attention, Mann will win you back with his innate precision. He doesn't try to create a particular effect, but his camera always finds an eye-catching shot (from a flash in the sky, to a raging waterfall). The plot is again typical of Mann: a conflict between crime and order, reflections, personality differences. The actors look like they aren't even acting, they're so great at becoming one with the characters that you believe in them completely (Li Gong and Colin Farrell certainly weren’t acting :). The action is perfect and the shootout at the end comes in second best in my own personal ranking. First place is still occupied by Heat. The only weakness this time is the length. I don't know if it was too protracted, delaying the inevitable, or if it was because I was just sitting in an uncomfortable seat in the movie theater, whatever it was it tainted my overall impression. We’ll see when I try out Miami Vice in the comfort of my own home, maybe I’ll change my mind. (25/09/2006)

I didn’t like it. I can't help it, but as he gets older, quantity is beginning to outweigh quality in Michael Mann's work, and unfortunately this applies to Miami Vice. The desire for style and maximum effect has replaced the filmmaker's heart that made Heat, while the flat script and somewhat soulless characters make it impossible to tell a compelling story and build atmosphere, as was the case with Collateral. The only thing that holds the film together are the action scenes, the interesting music and Jamie Foxx, whose charisma this time leaves everyone else behind (and that's a shame). If it were any other director, I would give 2*, but with Mann I'll be happy to turn a blind eye one last time. (30/04/2013)