A cab driver finds himself the hostage of an engaging contract killer as he makes his rounds from hit to hit during one night in Los Angeles. He must find a way to save both himself and one last victim.
When a Las Vegas performer-turned-snitch named Buddy Israel decides to turn state's evidence and testify against the mob, it seems that a whole lot of people would like to make sure he's no longer breathing.
Ricardo Tubbs is urbane and dead smart. He lives with Bronx-born Intel analyst Trudy, as they work undercover transporting drug loads into South Florida to identify a group responsible for three murders. Sonny Crockett [to the untrained eye, his presentation may seem unorthodox, but procedurally, he is sound] is charismatic and flirtatious until - while undercover working with the supplier of the South Florida group - he gets romantically entangled with Isabella, the Chinese-Cuban wife of an arms and drugs trafficker. The best undercover identity is oneself with the volume turned up and restraint unplugged. The intensity of the case pushes Crockett and Tubbs out onto the edge where identity and fabrication become blurred, where cop and player become one - especially for Crockett in his romance with Isabella and for Tubbs in the provocation of an assault on those he loves. Written by
Between when he was cast and the start of production, Jamie Foxx won an Oscar, greatly increasing his ego and his demands. He refused to fly commercially, forcing Universal to give him a private jet. He also wouldn't participate in scenes on boats or planes. After gunshots were fired on set in the Dominican Republic on October 24, 2005, Foxx packed up and refused to return. This forced Michael Mann to re-write the film's ending, which some crew members characterized as less dramatic than the original. See more »
Crocket wrestles a guy to the ground right before they storm the trailer and his body armor goes from having the shoulder straps ripped off when he stands up, to being fully fastened as soon as the camera changes to him peering around the tree (next camera angle). See more »
Although there were no opening credits in the theatrical release, the Unrated Director's Cut contains credits over a new sequence that opens the film. Once the credits are done, the film begins in the nightclub scene that opened the theatrical version. See more »
While this is called 'Miami Vice' and has the same names as the characters from the TV show, thats where the similarities end. This is a no nonsense undercover cop thriller. There are no 'buddy cops', wisecracks, car chases, or O.T.T action, so the casual movie goer is going to be a little bemused by what they are seeing. But fans of Michael Mann's work will be in seventh heaven, because this has all the director's trademarks.
There's some stunning camera-work (A lot of it digital), and some beautifully rendered sequences in this and some explosive action (But don't go expecting 'Lethal weapon' style action.) The trailer park stand off with the white supremacists was my favourite scene and an abject lesson in how to put suspense on screen.
Performances are all very good, right down to the smaller parts and the plot demands attention. I found the films running time flew by. Its so refreshing to see a cop thriller for adults, with no silliness and one that doesn't insult the audiences intelligence.
Best film so far this year.
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