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
Colin Farrell admitted to Total Film: "I didn't like it so much - I thought it was style over substance and I accept a good bit of the responsibility. It was never going to be Lethal Weapon (1987), but I think we missed an opportunity to have a friendship that also had some elements of fun". See more »
When Crockett and Isabella go to Cuba to have mojitos, it is supposedly to La Bodeguita del Medio. The Bodeguita is in a closed-in neighborhood in Havana Vieja on a small street, about 6 blocks from the nearest docks, and with no ocean or highway view. Yet in the bar scene one can clearly make out the ocean and highways. Moreover, the Bodeguita is a tiny place with no outdoor seating, no disco-style dancing, and is mostly a sit-down restaurant with a small bar attached. It is not a "night-life" place. 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 »
If you have seen Collateral by the same director, you have already seen a film that is almost identical in stylistic approach to Miami Vice. In fact several scenes are very similar indeed. As well as the frequent use of the vocal talents of Chris Cornell from Audioslave on the sound track.
The film is a "re-imagining", if you will, of the original TV series of which Mann was an Exec Producer. It is a Brooding and dark film that has no fear of the fantasy of giving two policemen a Lear Jet, a Ferrari, a speed boat, a Yaught and so on.
It is this marriage of action and toys with a dark and sometime incomprehensible plot that somehow works. Even at times it is difficult to understand what the characters are saying to each other.
All this aside this film is very good. The acting by Farrell and Foxx is first rate and some of the opening scenes are eye candy of the highest order. The closing gun fight is also worth seeing. If you think too hard about this movie you will see its flaws. But you won't care, and love it anyway. A unique trait that can perhaps be applied to the vagueness of the plot.
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