beschizza at March 31st, 2014 09:23 — #1
lt_nemo at March 31st, 2014 09:28 — #2
Until the catamaran shows up, it's like a William Gibson novel.
acerplatanoides at March 31st, 2014 09:42 — #3
It's considerably more vinyl-gold clad than Gibson.
miramon at March 31st, 2014 11:38 — #4
Huh, and the funny thing is the chaotic mess of sea, froth, and air blasted up by some cigarette boat roaring by is a legitimate candidate for some use of the word "liminal" too, even if its pretentious welcome has been worn thin by Gibson's countless imitators.
felixtannenbaum at March 31st, 2014 11:49 — #5
I understand that 98% of the world doesn't agree with me on this, but I really do think it is a brilliant movie. The 'dialogue' isn't much of course, but the visual storytelling is really something special.
steampunkbanana at March 31st, 2014 12:01 — #6
My problem with this movie is that after having seen it and with the opportunity to sit slowly and read at my own pace I still have no goddamned clue what's going on.
noahdjango at March 31st, 2014 12:34 — #7
that's why I love Mann, but I haven't seen this movie (loved the show when I was in jr high, though.) He tells the story visually, which is what you're supposed to do.
The final scene of Heat, the cat-and-mouse at the airport yard with all those little brightly-colored sheds is probably ten minutes with no dialogue. But the story is intense. Compare with Antonioni's darkroom scene in Blow-Up or when Brolin's character is making the thing to fish out the suitcase in the vent in the Coen's No Country for Old Men. No dialogue, in fact they're damn near silent. That's visual storytelling, something most films could use a lot more of.
trisaneldritch at March 31st, 2014 13:17 — #8
Actually, a great many of the younger generation of film critics really admire Miami Vice. Harmony Korine cited it as the primary aesthetic influence on last year's Spring Breakers. I was very surprised to discover that Catherine Deneuve was a fan, and quite hip to the film's unusual qualities: "I watched Miami Vice again. I hadn't really liked it the first time round. But even so, it's a whole other way of filming, it's fascinating. There is a force, an incredible energy to it. His films are very long, but there are no gratuitous shots. When he decides to film the nape of an actor's neck, there is a real tension. It's there, it's not at all . . . an effect. It's surprising. He makes you feel the weight of things." In MV, Mann pushed digital technology to give the cinematic image a kind of electric hyper-vividness and presence which it never had before. I think he's a genuinely great filmmaker.
milliefink at March 31st, 2014 13:20 — #9
And that's supposed to be a defense of Miami Vice? :-/
deidzoeb at March 31st, 2014 13:30 — #10
My dad told me some successful companies make fishing lures that attract and catch fish, while other companies can be successful making lures that attract and catch fishers in stores. That paragraph looks like it might not be helpful instructions for actors or crew to understand what they should be doing or capturing while creating the movie, but it might be helpful for catching studio execs when Mann is trying to sell the script.
trisaneldritch at March 31st, 2014 13:37 — #11
Nope, just an indication that the poster wasn't alone in admiring Miami Vice. Besides which, Spring Breakers made various Best of 2013 lists, including those of Cashier du Cinema and the filmmakers John Waters and Edgar Wright, so I'm not sure it gets automatically struck from the record on the basis on your apparent personal dislike of it.
timothy_krause at March 31st, 2014 13:47 — #12
The 'dialogue' isn't much of course, but the visual storytelling is really something special.
I and the immortal line "I'm a fiend for mojitos" beg to differ. Deathless prose, that.
timothy_krause at March 31st, 2014 13:49 — #13
Or the hole-digging scene in Becker's lovely Le Trou. Squee!
felixtannenbaum at March 31st, 2014 14:24 — #14
re: "I'm a fiend for Mojitos"
I always figured that Mann and co understood how ridiculous and contrived that sounded, and put it in there to make very clear that Sonny is lost in a sea of empty posturing. I understand that that is quite possibly hopeful thinking though.
trisaneldritch at March 31st, 2014 14:31 — #15
I think he was forced to put the Mojito references in there due to Bicardi sponsorship.
daneel at March 31st, 2014 14:32 — #16
I hate the ending of Heat.
Wrong way around, definitely. Same thing with Collateral.
Love the rest of the film.
Miami Vice, I tried to watch on a flight, didn't get on with it. Perhaps I should give it another go.
felixtannenbaum at March 31st, 2014 14:33 — #17
I found it interesting to look at the intro again - if you would like to, click the link:
felixtannenbaum at March 31st, 2014 14:47 — #18
and just for the hell of it, one of my favorite scenes from the movie, especially on a really really high def screen. (this version sadly is only 360p)
micah at March 31st, 2014 19:26 — #19
I don't know about brilliant. But I certainly enjoyed watching it.
noahdjango at March 31st, 2014 20:33 — #20
had to IMDB that. I gotta check this one out
next page →