Director:
Michael MannGuión:
Michael MannCámara:
Dion BeebeMúsica:
John MurphyReparto:
Colin Farrell, Jamie Foxx, Li Gong, Naomie Harris, Ciarán Hinds, Justin Theroux, Barry Shabaka Henley, Luis Tosar, John Ortiz, Elizabeth Rodriguez (más)Streaming (4)
Sinopsis(1)
Ricardo Tubbs y Sonny Crockett trabajan clandestinamente en la cálida Florida, infiltrándose en el oscuro abismo del mundo de la droga, cuyo único motor es el dinero. Pero al tiempo que la temperatura se dispara en Miami, Sonny se ve envuelto en una relación amorosa con Isabella, la esposa de un traficante de armas y drogas. Crockett y Tubbs van siendo empujados poco a poco hasta el límite y, de repente, la distinción entre su condición de policías y el papel que representan se difumina peligrosamente. (Universal Pictures España)
(más)Videos (2)
Reseñas (9)
La psicología tan inherente a la obra maestra de Mann Heat está tristemente - pero comprensiblemente - ausente. Aquí se interpreta con una nota veraniega. El guión, salvo algunas perlas de diálogo, no pasa de ser una docena de drama criminal y la dinámica de la película ni siquiera se acerca a la promesa del tráiler tan cargado. Sin embargo, el maestro Michael Mann logró tejer un látigo de esa mierda que dejará unas cuantas huellas memorables. Para mí, es el viaje inaugural de Colin Farrell y Li Gong juntos en la lancha motora acompañada de la música de Moby, la tradicional e inimitable naturaleza táctica y realista de la acción de Mann, y en tercer lugar la poesía de la conclusión, de la que nadie sale como claro vencedor.
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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.
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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".
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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.
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