Miami vice (2006)

Miami Vice -2006
Miami Vice -2006

Movie Details

Miami vice (2006)
Director-: : Michael Mann
Cast-Colin Farrell Jamie Foxx Gong Li
Movie type- Crime/Action
Release date- 28 July
IMDB Rating-6.1
Languages- English
Duration-2 Hour 14 Minutes


Miami vice (2006)


Michael Mann in Miami Vice radically changed the center of gravity of his cinema, shifting it from the position of a solid script to the position of empty showiness.

Michael Mann is one of the Hollywood directors who, with each subsequent film, has proven that action cinema can be ambitious, stellar and profitable at the same time. Unfortunately, his good streak has just ended. Anyone who remembers the dense atmosphere of Fever or Hostage , those devoid of false tone scripts, or the consistent guidance of the actors – will rub their eyes in amazement while watching Miami Vice . Mann has signed on to the film, which spends 120 minutes searching for its own style. He searches – and at least until the end credits – he doesn’t find anything. What is most lost, however, is the director himself. And no wonder – Michael Mann in Miami Vice radically changed the center of gravity of his cinema, shifting it from the position of a solid script to the position of empty showiness. And we, the viewers, should let him make this move. But one look at the list of Hollywood hits is enough to notice that we are inundated with showiness – even if it is well-prepared – while there are still too few good scripts in the cinema.

The one who first said that the tabernacle doesn’t give you a headache was wrong. Well, it hurts in the cinema, and in Hollywood cinema it hurts even twice as much. After all, the assumption that limitations can turn out to be creative has always accompanied the history of film thought. Nevertheless, Michael Mann took the opportunity to see for himself the truth of the old adage. And he did it by removing all difficulties from his directorial path. With particular emphasis on financial difficulties. Miami Vice looks as if every visual solution, every more or less clever idea, every concept of camera positioning – and certainly the concept of moving it – were accepted in advance, technically developed, and then eagerly produced. Many music videos would envy Miami Vice’s visual dynamics, precise play of colors, original editing and, above all, music perfectly matched to the image (read: just as flashy as the image).

And if Michael Mann had stopped at music videos, we would have just a good, entertaining film in cinemas. Unfortunately, Mann thought back to his entire filmography, to the image of a director growing beyond Hollywood, and finally to his loyal audience counting on action not only on screen, but also intellectually. This reflection was unnecessary and harmful. After all, which of the films has a chance of commercial success? A flashy production that consciously remains a flashy production? Is it a flashy production that carefully hides its flashiness? Mann was clearly embarrassed by what he wanted to film. So he decided to put a few intellectual raisins in the Miami Vice music video cake . Unfortunately, he developed a sprain.

Attempts to make Miami Vice a smarter film were doomed to failure and were eagerly heading towards a film and box office failure. The on-screen effects of these attempts: sequences presenting unsympathetic policemen with moral dilemmas while drinking their morning coffee – came dangerously close to the grotesque. The psychological game that Mann starts, despite such a terrible starting position, cannot count on a good start. Especially since the plot itself is no longer original. Mann tells the story of a duo of cops who change their identities and penetrate deeper and deeper into the structures of the drug mafia. One of them falls in love with the chief accountant of the drug business, who is also the wife and lover of the mafia boss. It is true that the screenwriter tries to play with the nuances of this double game from time to time, but the usually efficient actors – Colin Farrell and Oscar winner Jamie Foxx – do not intend to overwork themselves so much.

And if both the intrigue, the script built around it and the cast fail at the same time, Miami Vice can only defend itself with its impressive visuals. It’s a pity that Michael Mann didn’t let these colorful, moving pictures work carelessly, forcing a poorly written story with a moral between the picturesque landscapes, expensive cars and spectacular camera moves.

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