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
The waterfront mansion at the end was in Delray Beach, Florida. It was over 60,000 square feet, and had been built for the heirs of a large soft drink fortune. Before they could take possession of the house, they were robbed, and left Florida swearing never to return. Instead of demolishing it the normal way, it was chosen to be used in the film. It was completely demolished after filming wrapped, and three beachfront houses were built on the site. See more »
When Sonny and Isabella are having breakfast in Havana, she tells him her mother was a translator in Angola. Her lips say something else. 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]
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 »
The unrated director's cut adds 7 minutes of unseen footage:
A 3 minute long boat race with opening credits
After the boat race there is a 1 minute scene where Crockett and Tubbs watch Detective Switek negotiate a deal with Neptune.
A line of dialogue from Alonzo (when hes driving) where he says "pick up some sh*t" has been removed
A line of dialogue where Crockett says "those are some skill sets" when looking at the satellite images of the speed boats has been removed
A brief, 30 second, scene where Nicholas calls Yero to set up the deal with Crockett and Tubbs
A scene from the theatrical cut when Crockett and Tubbs walk around an outside balcony at their hotel and walk in on Isabella and her men has been deleted. In the unrated cut, they go into their hotel room, they get a phone call, and they go to meet Montoya.
4 minutes of new footage over two scenes: After meeting Montoya, Tubbs calls Trudy to ask if everything is alright. She thanks him for some flowers that were sent to her. Tubbs tells her he didn't send them. After this phone call Tubbs and Trudy are in a diner talking about the flowers and how its part of being undercover.
A new shot in the airplane sequence where Tubbs identifies himself as flight zero-zero-zero and Zito in the other plane acknowledges him.
A 1 minute scene of Crockett and Isabella on a balcony when they are in Cuba. Isabella tells Crockett that she grew up in this house and how her mother was a surgeon.
The song "In the air tonight" performed by Nonpoint now plays leading up to the final shootout
When Isabella is coming over for the exchange before the shootout, someone saying "where you going bitch?" has been removed
A 1 minute scene after Crockett and Isabella leave the shootout, she hits and punches Crockett while he's driving. The car skids out and he ties her hands up.
A brief shot at the safe house when Crockett cut Isabella's hands free
The end credits have been shortened (because of the new opening credits) and Nonpoint's "In the air tonight" no longer plays. Now the credits play "One of these mornings" performed by Moby. (The Moby song is the second song during the theatrical credits)
Visually Stunning And Bursting With Stylish Flare. Shame That The Same Can't Be Said About The Substance
Once again Michael Mann creates an entertaining and enthralling action thriller with Miami Vice. As well as staying faithful to the original iconic 80s series, it manages to being a whole new life to the franchise that changed TV and though may seem to have not got better with time it is still always going to be something special. The film's narrative structure lacks the rhythm and motion that is needed to create a more "compelling" blockbuster.
I generally hate Colin Farrell and when I heard that he had been cast as "Sonny" I was surprised and also disappointed. Colin Farrell lacks the discipline and gritty features needed to play a character such as "Sonny". What gets on my nerves about Colin Farrell's acting ability is the fact he is so "over the top" and never puts any depth, emotion or facial acting into his roles. He's generally a bland and un-appealing actor, also some of the dialogue (In particular Colin Farrell's) was so corny and lame you felt that the actor would have been being laughed at. In a strange way though you could stay the "style" of the script was a tribute to the odd 80s feel the movie had. On a lighter note Jamie Foxx was great as "Ricardo Tubbs", he lived up to the original character and put a new dimension into the role. I found it surprisingly realistic and he was awesome at keeping his "cool".
Michael Mann's beautiful, sleek and cool direction style perfectly suits the mood of Miami Vice. Mann's use of lighting (As usual) shows tremendous skill and intelligence to perfection of detail. The editing is very sharp and flows nicely, unlike the film's story which in places felt dis-joined. The style added a real raw intensity to the film's look and I felt it was very good on the eyes with some of the beautiful scenery which grabbed my attention. Mann is always a perfectionist as visual flare and creating a tense crime film (Which usually are wonderfully structured). Even though the film is modern it still manages to feel very "80s" which I enjoyed.
Being a huge Miachel Mann fan and a film buff I had been highly anticipating Miami Vice and was still enthralled even though it did not match some expectations. Yes I disagreed with a particular casting choice and was not a fan of the clumsy script, but I was still pleased with the final outcome. Though I was very hyped up for Miami Vice and it does live up to Mann's previous masterpieces it still manages to be the best film of the year so far in what is a (So far) disappointing year for film. Miami Vice is a "cool" film and I recommend it if you want some good entertainment.
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