VICE MOVIE SERIES
The TV series it’s based on, which Mann executive produced in the 1980s, had become a pop culture touchstone thanks to its cool locations, its cool cars, its cool boats, and especially its cool music. Michael Mann’s 2006 Miami Vice film wasn’t supposed to be anything like this. If I could compare this to anything, it would be to a dream. Even Alonzo’s highway suicide happens in a mute flash, a fleeting blood smear quietly materializing beneath the semi before we cut away to the next scene. All throughout these frenetic opening passages, scenes start too late and end too early. Don’t look to get your bearings just yet, however. Then, they watch helplessly as the devastated man steps in front of a tractor-trailer. “It’s Neptune’s lucky night”: Literally within seconds, Crockett and Tubbs have abandoned one case and are on the other, tearing down the highway (helicopters hovering, searchlights spinning), pulling Alonzo’s car aside and telling him, after checking with a SWAT team that’s been sent to his ruined house, that his wife has been murdered. Suddenly, amid the chaos, Crockett and Tubbs are whisked away to a phone call from a distraught informant, Alonzo Stevens (John Hawkes), who is speeding and swerving down the highway in his Bentley and wants to say a desperate goodbye to our heroes, while a sting operation involving neo-Nazis and FBI agents that he snitched out violently unravels elsewhere.
Before any credits roll, without any scene setting or throat clearing, we’re already a few bars into “Numb/Encore” in a sweaty, crowded Miami club, with Sonny Crockett (Colin Farrell) and Ricardo Tubbs (Jamie Foxx) and their team about to pounce on a sex trafficker named Neptune (Isaach de Bankolé). Head to Vulture’s Twitter to catch his live commentary. This week’s selection comes from Vulture critic Bilge Ebiri, who will begin his screening of Miami Vice (which turns 15 this year!) on October 6 at 7 p.m.
VICE MOVIE MOVIE
In a performance very reminiscent of her turn in The Master, she easily hurdles any Republican Wife clichés and, as her husband’s career comes home in ways you might not expect, she increasingly becomes the film’s conscience - or lack thereof.At regular but sometimes unpredictable intervals, Vulture selects a film to watch with our readers as part of our Wednesday Night Movie Club. Nailing Cheney’s distinctive growl, he creates a man where it’s seldom clear if he has the dirty work foisted upon him, or if he seeks it out in a kind of moral martyrdom.Īmy Adams, meanwhile, equals Bale as Lynne Cheney, who’s a surprisingly compelling figure if you only know her from that namecheck in Eminem’s ‘Without Me’. It’s often too easy to hail performances like this for the perspiration more than the inspiration, but the feat Bale manages here is far more than just another body modification stunt. Disappearing under make-up and a gut, and with an upper body he carefully trained to tally with the VP’s hunched silhouette, he transforms into Cheney before your eyes. It’s no surprise at this point to say Christian Bale delivers a good performance, but he really is sensational here.
Bush to his will do play a bit to the back row. One mid-film gambit regarding a potential alt-timeline for Cheney is so bonkers it brings the house down, although repeated cutaways to reeling in fish as Cheney bends George W. Much like The Big Short, McKay plays formal games and deploys engaging performances to help the medicine go down. He transforms into Cheney before your eyes.īut this is no dry piece of political analysis. Christian Bale really is sensational here.
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