Michael Mann’s director’s cuts are sometimes large and sometimes small. They usually include music changes. In the case of Miami Vice, he adds an opening, changes some music and does a few little things. It’s too bad, because even though it having an opening works out nice, neither of these major choices seem to be good ones. The opening introduces the cops’ speedboat racing team. They later use the same boat while undercover. It’s got their team name on the side. The change of music at the end starts out all right, but leaves the big shootout with some terrible scoring after the song runs out.
Watching Miami Vice on HD-DVD, it almost looks worse than it did in the theater. The DV makes it look like a sitcom. This viewing made it crystal clear what the big deal is about Mann using the DV. The actors have to work two or three times harder–only Colin Farrell manages it with any dignity–while Mann gets to cop out and do whatever he wants with the DV. There are some cool sequences in Miami Vice, but they never look good in high-def. They look like CG or the new “Grand Theft Auto.” The only time it ever looks good is the night shooting, when the sky is visible and the DV actually can photograph the differing colors well. I’ve seen DV well-lighted–from art school students no less–and it is not well-lighted in Miami Vice. Dion Beebe is an exceptionally unimpressive cinematographer.
The real problem is Mann’s script. He makes everyone in the movie, when he’s not borrowing his Manhunter lines, talk like Al Pacino and Robert De Niro do in Heat. Farrell can manage, so can Jamie Foxx to some degree (it’s sort of amazing how little Mann gives Jamie Foxx to do in the film), but when Naomie Harris starts doing it? It’s silly. There’s lots of bad acting in Miami Vice too. Barry Shabaka Henley stumbles through Mann’s dialogue, while Li Gong tries but just doesn’t work. It’s not believable her character wouldn’t speak English better.
John Ortiz’s evil villain starts out okay, but Mann reduces him to comic book status later on and it’s just bad.
I don’t know if I was expecting the director’s cut to help much–there’s still absolutely no partnership between Foxx and Farrell in the film–but I was expecting hi-def to make it look better.
I also don’t know how I feel about Mann always screwing up the music in his revisions. He kills the momentum at the end of Miami Vice and doesn’t even bother saving it from a jarring cut between the final shot and the credits.
Directed by Michael Mann; screenplay by Mann, based on the television series created by Anthony Yerkovich; director of photography, Dion Beebe; edited by William Goldenberg and Paul Rubell; music by John Murphy; production designer, Victor Kempster; produced by Mann and Pieter Jan Brugge; released by Universal Pictures.
Starring Colin Farrell (Sonny Crockett), Jamie Foxx (Ricardo Tubbs), Li Gong (Isabella), Naomie Harris (Trudy Joplin), Ciaran Hinds (Agent Fujima), Justin Theroux (Zito), Barry Shabaka Henley (Lt. Castillo), Luis Tosar (Montoya), John Ortiz (José Yero) and Elizabeth Rodriguez (Gina).
- Collateral (2004, Michael Mann)
- 28 Days Later (2002, Danny Boyle)
- The Keep (1983, Michael Mann)
- Seven Psychopaths (2012, Martin McDonough)
- Green Lantern (2011, Martin Campbell), the extended cut
- Miami Vice (2006, Michael Mann), the theatrical cut