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.
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
In the opening nightclub scene, the first shot of Crockett (over his shoulder) reveals him to be clearly wearing a white shirt under his suit- the collar is plainly visible. Cut to the next shot, from the front, and he is wearing a black t shirt instead. See more »
Deep-Chested Aryan Brother:
Shoot me, she dies. Shoot me, go ahead. Fuck it, we can all go. That's cool.
Det. Gina Calabrese:
That's not what happens. What will happen is... what will happen is I will put a round at twenty-seven hundred feet per second into the medulla at the base of your brain. And you will be dead from the neck down before your body knows it. Your finger won't even twitch. Only you get dead. So tell me, sport, do you believe that?
Deep-Chested Aryan Brother:
[Calabrese shoots him through the head]
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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 »
I thought the movie was slick and stylish, yet Mann gave absolutely no nods towards one of the biggest t.v shows of all time, aside from the characters having the same names and residing in Miami.
Where was the boat? The alligator? The ex-wife? The kid? Where was Miami? The scenes shot there could have pretty much been anywhere on the coastline of the States. Mann reportedly said a few years back that Miami isn't an interesting place to him anymore. Well he made that quite apparent with his new version of Miami Vice.
I, against popular opinion, actually thought he made a good choice in Farell. I don't really like the guy but he seems to be convincing in most of his roles, and who's better to play a party hard, rough around the edges renegade than a party hard, rough around the edges, erm, renegade.. ahem. But as it's been stated over and over, Farell and Foxx had no chemistry whatsoever. They barely even looked at each other. In fact, Foxx's role could have pretty much been played as well by most African American actors, given the amount of screen time the guy had.
I came out of the movie feeling like I wanted to hit a club, drink mojito's and pick up a model. Which I did, almost.
Miami Vice was a slick cop story with a shaky plot and cool visuals. But if you're looking for any references to the series then forget it, aside from a crap cover version of In The Air tonight thrown on during the end credits (originally sung by Phil Collins in the series pilot).
What was great about the series was the style, the attitude, the music. The film got one out of three of those right.
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