Miami vice - Deux flics à Miami

Psychológia, si propre au chef-d'œuvre de Mann Heat, malheureusement - mais pour des raisons compréhensibles - est absente. Il y a ici une ambiance estivale. Le scénario, à l'exception de quelques perles de dialogue, n'est qu'un simple crime et la dynamique du film ne correspond en rien aux promesses du trailer survolté. Cependant, Maître Michael Mann a réussi à tisser un fouet à partir de merde qui laisse quelques traces mémorables. Pour moi, ce sont les premiers pas colorés de Mobym dans une aventure commune avec Colin Farrell et Li Gong dans le train, le traditionalisme tactique et réaliste de l'action mannienne, et enfin la poésie de la conclusion, dont personne ne sort comme un vainqueur incontesté. (17/08/2006)

Ce film m’a permis d’apprécier Colin Farell, alors qu’avant, je ne pouvais pas le sentir. S’il a été choisi par le divin et indétrônable Woody Allen pour son film, c’est qu’il a un talent certain. (16/01/2008)

An extraordinarily intelligently shot blockbuster that is brought down by a weak screenplay and ostentatious dithering outside the mainstream of traditional detective action. In my opinion, this is the second absolute biggest advantage of the film – I can think whatever I want about the handheld camera, but it is justified in the service of Michael Mann. The atmosphere cuts and nice edge with its rawness and the great musical undertone gives it a modern tempo. The screenplay, unfortunately, is inexcusable. Too little room for character profiling, a boring story structure and no twists – even the excellent Mann can't bring tension and spark to Miami Vice. But just when you think that primarily effects are expected of a film with a budget of 135 million dollars, this authentic story about two guys on the edge of the law becomes a lot of fun. Not as an action movie, but as a raw psychological drama without loops and phrases. I give it a weaker five stars. (01/07/2009)

A seemingly trivial and many times seen story about infiltration among criminal structures, a feeling that prevailed in me until the 40th minute or so. But starting with the impressive scene with the meeting with the mafia boss (an incredibly charismatic guy, the casting again, as is usual with Mann, was perfect) and the beginning of the development of an unlikely romantic relationship with Isabella (a very charming Gong-Li), the film won me over. What elevates it to the "cinematic elite" is the person of Michael Mann and his directorial inventiveness, the atmosphere, the attention to detail (some really interesting shots), the unconventional concept of action, where authenticity rules above all, the perfect music and score, and you will rarely see such beautifully composed intimate scenes. And the beautiful ending, partly sad and partly full of hope, with the evocative piano accompaniment, convinced me that this film deserves a thumbs up. PS: I don't understand the repeated criticism towards the digital camera, all I can say is "keep it up, Mann". (19/11/2006)

Bad Boys meets Collateral in Mann's most personal audiovisual fetish of his career to date. The film pumps atmosphere out of overshot testosterone (the perfectly flashy "look," the tough talk), only to then laboriously wring it out in adrenaline-fueled action that, while desperately scarce, is among the most thrilling Mann has made so far. The experiments with the digital medium are still questionable but he should be commended for his courage to use them in a purely mainstream matter for a general audience. Farrell and Foxx are a textbook example of a male friendship, but in terms of the personal lives of their great loves, the director could have put some more intimate words in their mouths, which are more important in such a moment than a formal debate in the form of amorous glances and sexual lust. Even so, it is a delicate spectacle, with a crime plot sufficient for an episode of a series presented in the form of the fluffiest cotton candy, which you quickly eat and only then realize that it was actually amounted to nothing. (15/10/2006)