Miami Vice

A seemingly trivial and many times seen story about infiltration among criminal structures, a feeling that prevailed in me until the 40th minute or so. But starting with the impressive scene with the meeting with the mafia boss (an incredibly charismatic guy, the casting again, as is usual with Mann, was perfect) and the beginning of the development of an unlikely romantic relationship with Isabella (a very charming Gong-Li), the film won me over. What elevates it to the "cinematic elite" is the person of Michael Mann and his directorial inventiveness, the atmosphere, the attention to detail (some really interesting shots), the unconventional concept of action, where authenticity rules above all, the perfect music and score, and you will rarely see such beautifully composed intimate scenes. And the beautiful ending, partly sad and partly full of hope, with the evocative piano accompaniment, convinced me that this film deserves a thumbs up. PS: I don't understand the repeated criticism towards the digital camera, all I can say is "keep it up, Mann". (19.11.2006)

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. (22.09.2006)

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. (01.07.2009)

Bad Boys meets Collateral in Mann's most personal audiovisual fetish of his career to date. The film pumps atmosphere out of overshot testosterone (the perfectly flashy "look," the tough talk), only to then laboriously wring it out in adrenaline-fueled action that, while desperately scarce, is among the most thrilling Mann has made so far. The experiments with the digital medium are still questionable but he should be commended for his courage to use them in a purely mainstream matter for a general audience. Farrell and Foxx are a textbook example of a male friendship, but in terms of the personal lives of their great loves, the director could have put some more intimate words in their mouths, which are more important in such a moment than a formal debate in the form of amorous glances and sexual lust. Even so, it is a delicate spectacle, with a crime plot sufficient for an episode of a series presented in the form of the fluffiest cotton candy, which you quickly eat and only then realize that it was actually amounted to nothing. (15.10.2006)

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)