Miami Vice
Director: Michael Mann
Year/Country: 2006 USA
“This is a bad idea…and it has no future.”

After a joint-task undercover operation is spoiled with the murder of three officials, Miami Vice detectives Sonny Crockett and Ricardo Tubbs are assigned the undercover assignment of getting to the root of the cartel responsible, although their personal lives clash with their professional lives.

Michael Mann has a style and grace about films that entrances you, in my opinion. This is especially apparent in his crime films, which are driven by character and profession rather then laid back, hardcore badasses. In an age of horrible remakes and sequels, it seems like many are divided in opinion over what Mann is doing. Looking at this though, he has yet to disappoint me. Like his past films, Miami Vice is about two professionals who put work ahead of them, at the consequence of their personal lives. While it’s not as focused as the likes of Collateral or Heat, something glows in this film. Somehow Mann manages to make me sympathize with the lead characters without prior introduction.

It seems we are just thrown into this world. There are no opening credits or title, simply a blast into a club scene. Sonny Crockett and Ricardo Tubbs are two Miami Vice detectives building a case when it’s revealed an informant they’re working with has ratted out three undercover officials from join-task work. They’re killed in one of Mann’s most poignant scenes of action. Mann’s blunt realism of the attack put the audience in the back seat. It isn’t over the top, but it packs a punch I can’t quite find in many other films, even action movies that are over the top.

Mann’s eye for detail is evident all over. Crockett and Tubbs are assigned to go undercover to find the root of the cartel, which exports drugs through Miami based Skinheads. They don’t just walk into this world with a series of “that was a close one” moments. They’re in a drug world that’s never really depicted. Where the cartels realistically have counter intelligence that rivals the United States military. At one point Crockett remarks “this is what the CIA uses in Baghdad” when they’re phone signals are cut. Unlike other filmmakers, he also insists on real locations. He even scared away Jamie Foxx by filming in the Dominican Republic where a gang shooting took place on set.

A significant part of the film is dedicated to the love-interests. Tubbs is involved with a counter-Intel expert named Trudy, who he endangers by bringing her into this circle. Crockett begins a relationship with Isabella, an accountant for drug kingpin Arcangel de Jesus Montoya. He acknowledges that there’s no future in them, but he doesn’t end it. He wants to be with her, and carefully tries to convince her to leave this life without hinting he’s a detective. The identity crisis involved with their undercover works proves damaging to both of their lives, just like it was to Vincent and Neil in Heat.

While this isn’t Mann’s strongest film, lacking some of the character development he used wonderfully in films like Collateral, he still turns in a great work. Again he films in digital video, giving his film a new dimension. Take one scene on the top of a club with Crockett and Tubbs appearing almost as if they’re levitating with the bottom of the frame filled with the lights of the city, with only the sky above. The cinematography is amazing and even some of his best in some points. Take a point where Crockett is distracted by the vast view from a penthouse during a conversation with a cartel contact.

The use of music is equally great. Although the horrid “Encore/Numb” by Linkin Park and Jay-Z opens the film, the soundtrack is used very well. Take a scene where Crockett drives with Isabella in his boat during the day with Moby and Patti LaBelle’s “One of These Mornings” playing while when Crockett returns alone several days later in the evening the upbeat mood of the original is foiled by the eerie string section of “Sweep” by Blue Foundation. There are many other great musical instances from Moby to Audioslave but one of the more poignant scores is by John Murphy with “Who Are You” used with Crockett and Isabella to the effect Antonio Pinto’s “Requiem” and “Car Crash” had with Vincent and Max in Collateral

Overall Miami Vice is a great contrast to the horrid remake of today. Farrell and Foxx turn in very good performances along with the supporting cast. However it’s Mann’s touch that gives this film it’s dimension from it’s realism and professionalism to it’s stylistic beauty. I’d rather have the Mann touch then the Midas touch any day. I only wish Mann’s original ending wasn’t ruined by Jamie Foxx leaving the project. However the final product’s only major complaint from me is the lack of character development that’s evident in Mann’s other work.

CREDITS
Director
Michael Mann
Producer
Michael Mann & Pieter Jan Brugge
Writers
Michael Mann
- based on TV show "Miami Vice" by Anthony Yerkovich
Cinematographer
Dion Beebe
Composer
John Murphy
Editors
William Goldenberg & Paul Rubell
Production Designer
Victor Kempster

CAST
Colin Farrell
James "Sonny" Crockett/Sonny Burnett
Jamie Foxx
Ricardo "Rico" Tubbs/Rico Cooper
Gong Li
Isabella
Luis Tosar
Arcangel de Jesus Montoya
Naomie Harris
Trudy Joplin
Elizabeth Rodriguez
Gina Calabrese
Barry Shabaka Henley
Lieutenant Martin Castillo
John Ortiz
Jose "Cochi Loco" Yero