‘Miami’s’ chief vice: the script
Michael Mann’s film doesn’t have the style or relationships of the TV series
![]() Universal Jamie Foxx is Ricardo Tubbs and Colin Farrell is Sonny Crockett in the big screen update of "Miami Vice." No pastels allowed. |
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No matter what Michael Mann does, he’ll always be identified with “Miami Vice” — especially now that he has turned his 22-year-old television series into a $135 million R-rated movie starring Jamie Foxx and Colin Farrell.
Unfortunately, it’s one of Mann’s weakest films: a self-important big-screen rehash that misses the quirky fun of the original. It’s as if Mann had set out to deny fans of the show what they loved: the Miami seascapes, the pink flamingos, the pastel clothes, the art deco, the alligator named Elvis. This is no nostalgia trip.
It’s also not much of a buddy movie. We barely know the undercover cops at the center of the story. Perhaps Mann assumes that we knew them from the television franchise, but for audiences who weren’t born at the time, that’s not much help. For those who became fans of the show because it was so successful on the cop-buddy level, there’s no reinforcement of that feeling.
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The flashy, trend-setting original, which made celebrities of Don Johnson and Philip Michael Thomas for most of the 1980s, had such a distinctive visual style that it immediately established Mann as a filmmaker to watch. The idea behind the concept and pilot (written by Anthony Yerkovich) was “MTV Cops.”
Gone are Johnson’s stubble and Thomas’ clean-shaven face. Foxx sports a goatee, Farrell a mustache that seems to complete his Groucho Marx eyebrows for unintentionally comic effect. It was Foxx’s idea to create “Miami Vice — The Movie,” and he gets top billing, but he has essentially a supporting role.
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“I know what I’m doing,” Farrell tells Foxx, trying to explain his dangerous choice of mistress, but it’s obvious he doesn’t. The more he pursues this woman, the more trouble he courts.
Ciaran Hinds, who was a memorable Julius Caesar in HBO’s “Rome,” has a few juicy scenes as an agitated FBI agent. John Hawkes, the sad-sack hero of “You and Me and Everyone We Know,” is briefly riveting as a desperate family man who is sadly correct to fear the worst. But the other supporting players are mostly stuck with stereotypes.
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