Miami Vice. I love this movie. The pathos was stronger this time around, the resignation. On each watch I also become a little more resentful that Foxx doesn’t have a bigger role. His relationship with Crockett has something to offer the story, but we don’t see it much. I’d be up for another 12 minutes with the two of them on screen. Filed under: Michael Mann.
Miami Vice. This second time around, I was more struck with 1) the noir-iness of the whole thing, and 2) the emphasis on non-verbal communication (gesture, expression, eye contact exchanges, posture, observation & reaction) instead of dialogue. It’s pretty compact storytelling. My first review – I might bump it to number 4 or 5 in my Michael Mann rankings now. Roderick Heath’s review is a must-read.
Miami Vice. It’s not nearly as good as his best, but it’s good corny fun. I mean, it’s Miami Vice. Visually, it’s also the most Michael Mann-ish thing I’ve seen (see Pinnland Empire on Mann’s motifs). It’s also got the typical cop/criminal dynamic he loves. Best analogy I read somewhere was this movie would happen if Malick decided to make a cop film (from the general reverie to the looser, drifty handycam shooting). Sadly, the score is merely functional, but Mann knows when to turn the music down and let it ride. I feel like if I watched it again, I’d like it even more. I really, really like this dude’s movies. Updated Michael Mann rankings:
- The Last of the Mohicans
- Miami Vice