Il n'y a qu'une seule version du film sur ce DVD, c'est la "director's cut".RobertoTobias a écrit :Sur le DVD US Unrated, les 2 versions du film sont bien en vostf ?
La version cine, c'est a part.
Miami Vice : The Movie - Michael Mann (2006)
Modérateurs : Karen, savoy1, DeVilDead Team
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dario carpenter
- Messages : 6309
- Enregistré le : ven. avr. 30, 2004 9:10 pm
- Localisation : Haute Normandie et parfois Ile de France!
- Contact :
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dario carpenter
- Messages : 6309
- Enregistré le : ven. avr. 30, 2004 9:10 pm
- Localisation : Haute Normandie et parfois Ile de France!
- Contact :
un "up" pour cette critique assez intéressante parue sur dvdtimes,qui confirme que le film est une adaptation officielle de "Robbery Homicide Division" et non pas de "Miami Vice" 80's... 
:
"I have posted this on the forum but I feel compelled to repost it here...
My two cents on MV
After watching Mann's Miami Vice and subsequently reading a few of its reviews, I was reminded of bands like The Fall and Yo La Tengo, or albums such as "Trout Mask Replica" and "Bitches Brew", the thing they have in common is – either you get them or you don't.
Unlike most filmmakers who works in crime drama, Mann's interests lie not in overt emotions (Scorcese, Woo, Coppola), bombast (Scott brothers, Michael Bay, Donner), schematics (Hitchcock, De Palma, Fincher) or didactic/polemic (Spike Lee, Tarantino, Oliver Stone) but in mood and psychology. His lineage is that of John Ford, Kurosawa, Leone and Anthony Mann, along with contemporaries such as Cronenberg, Mamet, Chris Nolan as well as a few non-genre world cinema directors, such as Wenders, Wong Kar Wai and Johnnie To.
In Mann's hyper-realistic worlds, characters are defined by the careers. Like their creator, they are artisans, consummate professionals and borderline obsessives. They rarely let each other, let alone the viewer, into their world and motivations. The viewer is left to observe them at work, and the detail is God environment they inhabit. As UK critic Nick James noted in his essay on "Heat." In Mann's films, the Style IS the substance. From the negative reviews, this doesn't sit well with critics weaned either on Sundance humanist aesthetic or the more populist "narrative/plot is king" take on cinema.
It's almost like listening to a Steve Reich movement or a percussion piece and complaining that they couldn't get the melody when it's the rhythm that they should be appreciating in the first place.
As most critics and viewers realised by now, Vice 06 is not Miami Vice at all, save for the character's names and Nonpoint's cover of "in the air tonight". What it is, is actually an expanded and retooled hybrid of 2 stories in Mann's 2002 series Robbery Homicide Division which starred Tom Sizemore and Barry Shabaka Henley. The 2 episodes in question are episode 8 "Wild Ride" and episode 9 "Life is Dust". In "Wild Ride" –*in which Tom Towles (Coleman in Vice) played a White Supremacist drug dealer on a crime spree which culminated in a crackdown in a trailer park which ended in a thug blowing up a trailer/meth lab. Then "Life is Dust" - based on a "story by Michael Mann" but directed by Mario Van Peebles, had Sizemore going undercover to track down a Vietnamese arms dealer, fell for his Vietnamese lawyer wife and ended in a gunfight at a sting gone wrong. As the two synopsis illustrated, the episodes served as the "LA Takedown*" to Vice 06. Whole snatches of dialogue and scenes were lifted and reshaped and refined for this film.
In fact, the interpersonal dynamics and characterisations of Vice 06 drew more from the Sizemore/Henley and co, than 80s Vice. Like many relationships in workplaces and unlike most cliched "buddy movie" pair ups, there are those which you hung with and there are those who you could rely on to get the job done, and 90% of the time they are not the same person. Like RHD, in Vice 06 C/T appeared to be working partners rather than friends.
On the dvd commentary of "Collateral" Mann mentioned that he is interested in developing that film as "a third act" of something larger. I feel that this tactic was quite subtle there, as there were plenty of exposition - both visual and aural, to establish the story. In Vice, on the hand, this structure was made explicit, the viewers were literally dropped, mid-scene, into Vice's world, almost like "finding" a show whilst channel surfing. Mann's deadpan homage to tv viewing? Mann then propelled you into their mission in a "fly on the wall" manner. What happened over the next 2 hours was the cinematic equivalent of riding a stripped down sports car.
The film itself was all about deceit, from playful lies of Tubb's love scene, Crocket/Isabella's relationship, to Crockett/Tubbs persona and posturing, towards both the dealers and to the FBI. The surface sheen of the jargon, big boats, big guns and fast cars are also part of the lies/facade. Truth and character were gleaned through work and action –*trademarks of Mann's pop existentialism. For those who didn't catch RHD, a natural non-Mann companion to Vice is Mamet's Spartan. Like Mann, Mamet is another artist who revel in dealing with machismo and professionals (Glengary Glen-Ross, Homicide, Heist, House of Cards and more recently, the Heat/Mann-like tv series, The Unit) yet Mamet's worlds had two things which made them more "mainstream" and "populist" than Mann – his "gift of gab" (quotable lines) and schematics (plot twists). One can only imagine what might happen if their worlds collide!
Like a pre-Michael Moore documentarian, Mann captured this "Mann-made" world and all its lies for the viewer to experience, the editoralising is done not through conventional dialogue but through purely cinematic/technical means. Visually, what is most uniquely Mann is that, despite his affinity to the handheld aesthetic –*often seen in cinema verite, documentaries, reality and procedural shows like Homicide, NYPD Blue, Cops or the Shield – the results, to this viewer at least, were always perfectly composed and considered as opposed to frenetic. Its usage stemmed not from the desire simulate kineticism but rather to visually illustrate the interior of the characters, this was true in Heat, The Insider**, Ali and by and large in Vice. The same applies to the soundtrack which serves to underscore the emotions, and songs were used to define the time and place.
Atmospherically, the word foreboding comes to mind, like Heat and RHD the smothering sense of dread were all consuming. Mann and his cinematographer's complete mastery of HD (not to mimic film but as a new medium) serve to instill the ambience with heat and texture. Violence is portrayed swiftly, realistically and had deadly or traumatising effects, in this respect, it reminded me of Cronenberg's "History of Violence".
So, on the surface at least, this makes for a ultimate Mann film, and while it is true in some ways (visual realisation, mise en scene often rivals The Insider and Heat), there were severe lapses of judgment that for me, made it a "flawed" piece. A few minor ones could be deemed "fixable" in the eventual dvd release (Nonpoint's appalling cover, relooping of some of Gong's dialogue, awkward timing on a few transitions), all but one of these flaws have to do with the four major "unfixable" flaws – the film's name, Colin Farrell, Jamie Foxx and Gong Li.
I wouldn't say that the actors lack acting chops, rather, I feel that they were let down by their relative "newness". What made Heat so remarkable and affecting, even to non-Mann admirers – despite the similar lack of overt backstories – was the audiences' collective memory of DeNiro and Pacino's past works. Their twenty-odd year or so of baggage that helped to inform the audience subconsciously of who the characters were. Neither Farrell nor Foxx had the history or gravitas for viewers to latch onto, thereby the viewers were forced to see them as extensions of the persona created by Johnson and Thomas. Had the film went for a different title or had Mann chosen either more established actors or complete unknowns the result might be altogether more positive. Then there's Li, who, besides her difficulty in mastering English (a big problem in the US, but definitely less in the rest of the world), seemed miscast and was unable to fully convey the harsh yet tender aspect of her character. I couldn't help but imagine what someone like Maggie Cheung might bring to the role.
As someone who admired most of Mann's output, (in fact my least favourite were his more "traditional" work like "The Last of the Mohicians" and the 80s Miami Vice), I find this cinematic version of "Robbery Homicide Division – Miami Vice" to be an engrossing cinematic experience, and his output has been underappreciated by both the mainstream, critics and film scholars alike."
* "LA Takedown" was Mann's little seen tv movie from which Heat was derived from.
**Compare Mann's Insider to Stone's JFK, Nixon or even the earlier works of Alan J Pakula, and you'll begin to respect Mann's masterful riff on paranoia films, transforming a "ripped from the headlines" docu-thriller into an intense character study, by subverting the visual/aesthetic cues of a Stonesian conspiracy thriller.
_________________
:"I have posted this on the forum but I feel compelled to repost it here...
My two cents on MV
After watching Mann's Miami Vice and subsequently reading a few of its reviews, I was reminded of bands like The Fall and Yo La Tengo, or albums such as "Trout Mask Replica" and "Bitches Brew", the thing they have in common is – either you get them or you don't.
Unlike most filmmakers who works in crime drama, Mann's interests lie not in overt emotions (Scorcese, Woo, Coppola), bombast (Scott brothers, Michael Bay, Donner), schematics (Hitchcock, De Palma, Fincher) or didactic/polemic (Spike Lee, Tarantino, Oliver Stone) but in mood and psychology. His lineage is that of John Ford, Kurosawa, Leone and Anthony Mann, along with contemporaries such as Cronenberg, Mamet, Chris Nolan as well as a few non-genre world cinema directors, such as Wenders, Wong Kar Wai and Johnnie To.
In Mann's hyper-realistic worlds, characters are defined by the careers. Like their creator, they are artisans, consummate professionals and borderline obsessives. They rarely let each other, let alone the viewer, into their world and motivations. The viewer is left to observe them at work, and the detail is God environment they inhabit. As UK critic Nick James noted in his essay on "Heat." In Mann's films, the Style IS the substance. From the negative reviews, this doesn't sit well with critics weaned either on Sundance humanist aesthetic or the more populist "narrative/plot is king" take on cinema.
It's almost like listening to a Steve Reich movement or a percussion piece and complaining that they couldn't get the melody when it's the rhythm that they should be appreciating in the first place.
As most critics and viewers realised by now, Vice 06 is not Miami Vice at all, save for the character's names and Nonpoint's cover of "in the air tonight". What it is, is actually an expanded and retooled hybrid of 2 stories in Mann's 2002 series Robbery Homicide Division which starred Tom Sizemore and Barry Shabaka Henley. The 2 episodes in question are episode 8 "Wild Ride" and episode 9 "Life is Dust". In "Wild Ride" –*in which Tom Towles (Coleman in Vice) played a White Supremacist drug dealer on a crime spree which culminated in a crackdown in a trailer park which ended in a thug blowing up a trailer/meth lab. Then "Life is Dust" - based on a "story by Michael Mann" but directed by Mario Van Peebles, had Sizemore going undercover to track down a Vietnamese arms dealer, fell for his Vietnamese lawyer wife and ended in a gunfight at a sting gone wrong. As the two synopsis illustrated, the episodes served as the "LA Takedown*" to Vice 06. Whole snatches of dialogue and scenes were lifted and reshaped and refined for this film.
In fact, the interpersonal dynamics and characterisations of Vice 06 drew more from the Sizemore/Henley and co, than 80s Vice. Like many relationships in workplaces and unlike most cliched "buddy movie" pair ups, there are those which you hung with and there are those who you could rely on to get the job done, and 90% of the time they are not the same person. Like RHD, in Vice 06 C/T appeared to be working partners rather than friends.
On the dvd commentary of "Collateral" Mann mentioned that he is interested in developing that film as "a third act" of something larger. I feel that this tactic was quite subtle there, as there were plenty of exposition - both visual and aural, to establish the story. In Vice, on the hand, this structure was made explicit, the viewers were literally dropped, mid-scene, into Vice's world, almost like "finding" a show whilst channel surfing. Mann's deadpan homage to tv viewing? Mann then propelled you into their mission in a "fly on the wall" manner. What happened over the next 2 hours was the cinematic equivalent of riding a stripped down sports car.
The film itself was all about deceit, from playful lies of Tubb's love scene, Crocket/Isabella's relationship, to Crockett/Tubbs persona and posturing, towards both the dealers and to the FBI. The surface sheen of the jargon, big boats, big guns and fast cars are also part of the lies/facade. Truth and character were gleaned through work and action –*trademarks of Mann's pop existentialism. For those who didn't catch RHD, a natural non-Mann companion to Vice is Mamet's Spartan. Like Mann, Mamet is another artist who revel in dealing with machismo and professionals (Glengary Glen-Ross, Homicide, Heist, House of Cards and more recently, the Heat/Mann-like tv series, The Unit) yet Mamet's worlds had two things which made them more "mainstream" and "populist" than Mann – his "gift of gab" (quotable lines) and schematics (plot twists). One can only imagine what might happen if their worlds collide!
Like a pre-Michael Moore documentarian, Mann captured this "Mann-made" world and all its lies for the viewer to experience, the editoralising is done not through conventional dialogue but through purely cinematic/technical means. Visually, what is most uniquely Mann is that, despite his affinity to the handheld aesthetic –*often seen in cinema verite, documentaries, reality and procedural shows like Homicide, NYPD Blue, Cops or the Shield – the results, to this viewer at least, were always perfectly composed and considered as opposed to frenetic. Its usage stemmed not from the desire simulate kineticism but rather to visually illustrate the interior of the characters, this was true in Heat, The Insider**, Ali and by and large in Vice. The same applies to the soundtrack which serves to underscore the emotions, and songs were used to define the time and place.
Atmospherically, the word foreboding comes to mind, like Heat and RHD the smothering sense of dread were all consuming. Mann and his cinematographer's complete mastery of HD (not to mimic film but as a new medium) serve to instill the ambience with heat and texture. Violence is portrayed swiftly, realistically and had deadly or traumatising effects, in this respect, it reminded me of Cronenberg's "History of Violence".
So, on the surface at least, this makes for a ultimate Mann film, and while it is true in some ways (visual realisation, mise en scene often rivals The Insider and Heat), there were severe lapses of judgment that for me, made it a "flawed" piece. A few minor ones could be deemed "fixable" in the eventual dvd release (Nonpoint's appalling cover, relooping of some of Gong's dialogue, awkward timing on a few transitions), all but one of these flaws have to do with the four major "unfixable" flaws – the film's name, Colin Farrell, Jamie Foxx and Gong Li.
I wouldn't say that the actors lack acting chops, rather, I feel that they were let down by their relative "newness". What made Heat so remarkable and affecting, even to non-Mann admirers – despite the similar lack of overt backstories – was the audiences' collective memory of DeNiro and Pacino's past works. Their twenty-odd year or so of baggage that helped to inform the audience subconsciously of who the characters were. Neither Farrell nor Foxx had the history or gravitas for viewers to latch onto, thereby the viewers were forced to see them as extensions of the persona created by Johnson and Thomas. Had the film went for a different title or had Mann chosen either more established actors or complete unknowns the result might be altogether more positive. Then there's Li, who, besides her difficulty in mastering English (a big problem in the US, but definitely less in the rest of the world), seemed miscast and was unable to fully convey the harsh yet tender aspect of her character. I couldn't help but imagine what someone like Maggie Cheung might bring to the role.
As someone who admired most of Mann's output, (in fact my least favourite were his more "traditional" work like "The Last of the Mohicians" and the 80s Miami Vice), I find this cinematic version of "Robbery Homicide Division – Miami Vice" to be an engrossing cinematic experience, and his output has been underappreciated by both the mainstream, critics and film scholars alike."
* "LA Takedown" was Mann's little seen tv movie from which Heat was derived from.
**Compare Mann's Insider to Stone's JFK, Nixon or even the earlier works of Alan J Pakula, and you'll begin to respect Mann's masterful riff on paranoia films, transforming a "ripped from the headlines" docu-thriller into an intense character study, by subverting the visual/aesthetic cues of a Stonesian conspiracy thriller.
_________________
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ZombiGirl
- DeVilDead Team
- Messages : 1921
- Enregistré le : jeu. juin 24, 2004 5:34 pm
- Localisation : Last House on Dead End Street.
Vu avant-hier et je retiens un film où les gens prennent des douches ensemble, puis ils dealent de la drogue au téléphone, puis ils font du hors-bord ultra rapide, puis ils dealent de la drogue sur des parkings, puis ils roulent très vite en voiture de sports, puis ils dealent de la drogue au téléphone, puis ils prennent l'avion, puis le deal de drogue foire, puis les héros sont un p'tit peu en danger, puis ils reprennent des douches et sauvent leurs copines sauf l'un des héros qui regarde la sienne partir la larme à l'oeil.
J'aimais beaucoup Michael Mann. Là, j'attends pas trop son prochain film.
Puis Colin Farrell, mais quel boeuf ! Aucun charisme, aucun sex appeal, aucun talent, que dalle
J'aimais beaucoup Michael Mann. Là, j'attends pas trop son prochain film.
Puis Colin Farrell, mais quel boeuf ! Aucun charisme, aucun sex appeal, aucun talent, que dalle
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Plisken
- Messages : 2783
- Enregistré le : dim. mai 02, 2004 6:27 pm
- Localisation : http://perdu.com/
Donc le film porte bien son titreZombiGirl a écrit :Vu avant-hier et je retiens un film où les gens prennent des douches ensemble, puis ils dealent de la drogue au téléphone, puis ils font du hors-bord ultra rapide, puis ils dealent de la drogue sur des parkings, puis ils roulent très vite en voiture de sports, puis ils dealent de la drogue au téléphone, puis ils prennent l'avion, puis le deal de drogue foire, puis les héros sont un p'tit peu en danger, puis ils reprennent des douches et sauvent leurs copines sauf l'un des héros qui regarde la sienne partir la larme à l'oeil.
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Dragonball
- Messages : 13095
- Enregistré le : ven. déc. 17, 2004 8:43 pm
- Localisation : Dans un Bunker avec Playboy, une Dreamcast et un M16
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Fatalis rex
- Messages : 7723
- Enregistré le : ven. avr. 30, 2004 10:19 am
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dario carpenter
- Messages : 6309
- Enregistré le : ven. avr. 30, 2004 9:10 pm
- Localisation : Haute Normandie et parfois Ile de France!
- Contact :
Quentin Tarantino parle du film et de COLLATERAL 
“Cinematically Speaking…”
by David Michael
Film Ink Magazine
August 2007
Page 15
When asked about which 2006 movie he liked the least, Quentin Tarantino responded:
“Now, hands down, the movie I hated the most of this last year was Miami Vice. That was a piece of *beep* For so long, Michael Mann has been one of the truly great auteurs in Hollywood cinema, but I also thought that Collateral was a sell-out piece of *beep* He was reeling from Ali, so he obviously wanted to make a movie with the biggest movie star in the world. So he gets the first script that comes along and it’s like a poor man’s Michael Mann script. Just so he can make a hit with Tom Cruise! So I thought, ‘Okay, he’ll get his *beep* together again on Miami Vice…’ [Gasps] Collateral is The Insider compared to Miami Vice! Miami Vice is one of the dumbest, most *beep*-up, most uninvolving, no chemistry, ugly looking movies I’ve EVER seen in my life! I just had such a big emotional feeling about that film! That movie looked like such *beep* That cinematographer [Oscar winning Aussie Dion Beebe] is so vastly untalented. I mean, that blue smeary *beep* Apparently ugly is the new black!”
“Cinematically Speaking…”
by David Michael
Film Ink Magazine
August 2007
Page 15
When asked about which 2006 movie he liked the least, Quentin Tarantino responded:
“Now, hands down, the movie I hated the most of this last year was Miami Vice. That was a piece of *beep* For so long, Michael Mann has been one of the truly great auteurs in Hollywood cinema, but I also thought that Collateral was a sell-out piece of *beep* He was reeling from Ali, so he obviously wanted to make a movie with the biggest movie star in the world. So he gets the first script that comes along and it’s like a poor man’s Michael Mann script. Just so he can make a hit with Tom Cruise! So I thought, ‘Okay, he’ll get his *beep* together again on Miami Vice…’ [Gasps] Collateral is The Insider compared to Miami Vice! Miami Vice is one of the dumbest, most *beep*-up, most uninvolving, no chemistry, ugly looking movies I’ve EVER seen in my life! I just had such a big emotional feeling about that film! That movie looked like such *beep* That cinematographer [Oscar winning Aussie Dion Beebe] is so vastly untalented. I mean, that blue smeary *beep* Apparently ugly is the new black!”
-
Dragonball
- Messages : 13095
- Enregistré le : ven. déc. 17, 2004 8:43 pm
- Localisation : Dans un Bunker avec Playboy, une Dreamcast et un M16
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niko13
- Messages : 4287
- Enregistré le : ven. avr. 30, 2004 10:10 am
- Localisation : Laboratory Of The Utility Muffin Research Kitchen
Pas mieux.Dragonball a écrit :Venant du mec qui vient de réaliser un des films les plus chiants de 2007, ça fait doucement sourir !
Et en plus, il ose parler du script...
Par moment, il ferait mieux de fermer sa gueule et d'arreter d'agiter sa quequette a tout va le Quentin, qu'il retourne faire des bons films.
What the fuck did I do ?
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Fatalis rex
- Messages : 7723
- Enregistré le : ven. avr. 30, 2004 10:19 am
Vu en HD-DVD et c'est la totale incompréhension. Michael Mann a réalisé une tripotée de bons films avec des flics et des criminels qui sont restés comme des oeuvres de haut niveau : l'excellent LE SOLITAIRE ou encore HEAT. Et puis, la, il nous pond un film laid et dont le fond est carrément indigent. Au bout de plus de deux heures, l'impression globale, c'est d'avoir l'impression que l'on vient de perdre son temps, c'est assez extraordinaire. Le générique de fin arrive et on se dit "Mais c'est quoi ces conneries ?".
Dans les années 80, DEUX FLICS A MIAMI, c'est à dire MIAMI VICE, balance sur les écrans une série policière où le glamour clinquant et la frime rejoint le polar sur fond de musique à la mode. Les flics sont des gravures de mode habillés en fringue de luxe et roulant dans des bagnoles tout aussi onéreuse. On passe son temps sur les bords des piscines, des bars chics ou des boites de nuit select. Le tout etant mis en image dans un style très années 80, comme tous les elements de la serie, avec une esthétique orienté vers le "clip" aux images léchées.
Plus de 20 ans plus tard, Michael Mann retrouve la serie sur laquelle il a bossé pour l'adapter au cinéma. Les années 80 sont révolus, le style du film va tout de meme conserver quelques caracteristiques en faisant table rase du reste. Une véritable dépression se manifeste dès lors au sein même du film. Les mecs sont habillés comme des cadors, ils roulent toujours en bagnole de luxe... Mais ca ne fonctionne pas. Non, ca ne fonctionne pas car les acteurs choisis n'arrivent pas à retranscrire la frime de leurs personnages, leur côté superficiel. Pourquoi n'y arrivent ils pas ? Car un handicap de taille handicape le film puisque les personnages ne sont pas juste des frimeurs superficiels, ils n'existent tout simplement pas. Les acteurs jouent mal ! Il faut voir les rendez vous nocturnes entre nos deux flics et leurs superieurs ou ils s'echangent des dialogues tellement artificiels que ca sonne faux. Tous les dialogues du film donnent 'limpression d'etre débité aux kilometres : ils ne fonctionnent pas et les acteurs n'y croient pas plus (la direction d'acteur a t'elle été oubliée ?). Pour aider ce petit monde, l'utilisation du numérique plombe le film. Image degueulasse (pour faire vraie ?) essayant de retranscrire les ambiances clinquantes de la série originales (le pont éclairé en bleu), ce qui se deroule a l'ecran oscille entre le film de vacances de papy et le documentaire. J'exagere à peine. Le glamour, la frime et le clinquant, tout s'envole. Ce n'est plus un catalogue sur papier glacé, c'est de l'impression au rabais d'un magazine d'annonce donné gratuitement chez votre boulanger. Côté son, l'unité avec la série se conserve et on utilise donc des "tubes" pour illustrer les voyages de tous nos personnages. A noter un morceau de Phil Collins (à moins que ce ne soit une reprise) qui etait deja present (je crois) dans la série originale.
Heureusement, un film, ce n'est pas seulement sa forme, c'est aussi son fond. Et, la, c'est pareil, c'est une catastrophe. Au bout de deux heures, on a quand meme l'impression qu'il ne s'est quasiment rien passé. ZombiGirl résume bien le film, on passe d'une scene a une autre sans que les personnages ne réussisent à y vivre. Et si le personnage ne vit pas dans cet univers, il ne reste plus que ses actions : on roule en voiture, on parle au telephone, on parle de visu, on baisouille rapidement, on parle business, on se tire dessus, on fait du bateau, on danse un coup... Voila les élements constitutifs de MIAMI VICE, ne cherchez rien d'autre, y'a rien d'autre, c'est desesperement creux ! Reste les rares scenes d'action qui n'ont rien d'impressionnant mais qui ont au moins l'avantage de me sortir de ma torpeur dans laquelle l'inutilité du propos m'a plongé jusque là.
Je suis sur que les mecs ont du claquer pas mal de fric pour aller tourner à la Havane. Je sais pas, je le sens à fond. Et la Havane ? On voit rien, ca pourrait etre tourné en studio à Sarcelles.
Enorme déception ce Machin Vice !
Vu en HD-DVD avec des options de supplements assez etonnantes et, quelque part a l'image du film, sans interet. Si vous aimez les caracteristiques techniques en chiffres des bateaux, vous allez adorer !
Je vois que Quentin Tarantino partage mon avis, cela prouve qu'il est mieux a sa place dans la salle de cinéma plutot que derrière la caméra. Hop, je tue Mann et Tarantino dans le meme message !
Dans les années 80, DEUX FLICS A MIAMI, c'est à dire MIAMI VICE, balance sur les écrans une série policière où le glamour clinquant et la frime rejoint le polar sur fond de musique à la mode. Les flics sont des gravures de mode habillés en fringue de luxe et roulant dans des bagnoles tout aussi onéreuse. On passe son temps sur les bords des piscines, des bars chics ou des boites de nuit select. Le tout etant mis en image dans un style très années 80, comme tous les elements de la serie, avec une esthétique orienté vers le "clip" aux images léchées.
Plus de 20 ans plus tard, Michael Mann retrouve la serie sur laquelle il a bossé pour l'adapter au cinéma. Les années 80 sont révolus, le style du film va tout de meme conserver quelques caracteristiques en faisant table rase du reste. Une véritable dépression se manifeste dès lors au sein même du film. Les mecs sont habillés comme des cadors, ils roulent toujours en bagnole de luxe... Mais ca ne fonctionne pas. Non, ca ne fonctionne pas car les acteurs choisis n'arrivent pas à retranscrire la frime de leurs personnages, leur côté superficiel. Pourquoi n'y arrivent ils pas ? Car un handicap de taille handicape le film puisque les personnages ne sont pas juste des frimeurs superficiels, ils n'existent tout simplement pas. Les acteurs jouent mal ! Il faut voir les rendez vous nocturnes entre nos deux flics et leurs superieurs ou ils s'echangent des dialogues tellement artificiels que ca sonne faux. Tous les dialogues du film donnent 'limpression d'etre débité aux kilometres : ils ne fonctionnent pas et les acteurs n'y croient pas plus (la direction d'acteur a t'elle été oubliée ?). Pour aider ce petit monde, l'utilisation du numérique plombe le film. Image degueulasse (pour faire vraie ?) essayant de retranscrire les ambiances clinquantes de la série originales (le pont éclairé en bleu), ce qui se deroule a l'ecran oscille entre le film de vacances de papy et le documentaire. J'exagere à peine. Le glamour, la frime et le clinquant, tout s'envole. Ce n'est plus un catalogue sur papier glacé, c'est de l'impression au rabais d'un magazine d'annonce donné gratuitement chez votre boulanger. Côté son, l'unité avec la série se conserve et on utilise donc des "tubes" pour illustrer les voyages de tous nos personnages. A noter un morceau de Phil Collins (à moins que ce ne soit une reprise) qui etait deja present (je crois) dans la série originale.
Heureusement, un film, ce n'est pas seulement sa forme, c'est aussi son fond. Et, la, c'est pareil, c'est une catastrophe. Au bout de deux heures, on a quand meme l'impression qu'il ne s'est quasiment rien passé. ZombiGirl résume bien le film, on passe d'une scene a une autre sans que les personnages ne réussisent à y vivre. Et si le personnage ne vit pas dans cet univers, il ne reste plus que ses actions : on roule en voiture, on parle au telephone, on parle de visu, on baisouille rapidement, on parle business, on se tire dessus, on fait du bateau, on danse un coup... Voila les élements constitutifs de MIAMI VICE, ne cherchez rien d'autre, y'a rien d'autre, c'est desesperement creux ! Reste les rares scenes d'action qui n'ont rien d'impressionnant mais qui ont au moins l'avantage de me sortir de ma torpeur dans laquelle l'inutilité du propos m'a plongé jusque là.
Je suis sur que les mecs ont du claquer pas mal de fric pour aller tourner à la Havane. Je sais pas, je le sens à fond. Et la Havane ? On voit rien, ca pourrait etre tourné en studio à Sarcelles.
Enorme déception ce Machin Vice !
Vu en HD-DVD avec des options de supplements assez etonnantes et, quelque part a l'image du film, sans interet. Si vous aimez les caracteristiques techniques en chiffres des bateaux, vous allez adorer !
Je vois que Quentin Tarantino partage mon avis, cela prouve qu'il est mieux a sa place dans la salle de cinéma plutot que derrière la caméra. Hop, je tue Mann et Tarantino dans le meme message !
"Fuck The World", Rambo
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comte vonkrolock
- Messages : 10220
- Enregistré le : mer. févr. 28, 2007 6:32 pm
- Localisation : Dans les Carpathes Lyonnaises
Ouuulllla !!! Le Arioch énerver sa vaut le détour 
Les années 80 était friqué et superficielle, les années 90 on y rajoute le coté sociale, et les années 2000 mon l'air bien plus artificielles. Logique que le fond ou la forme ne puisse plaire, on est + dans un documentaire fiction que dans un polars suspense/action. Mais bon au milieu de tous les polars moyens qu'on nous pond chaque années. Celui-ci sans sort avec les honneurs me souvient que cette "été" là y avait pas eu grand chose a sauver dans les salles
Le problème de Michael Mann c'est qui ce répète, et dés lors si on apprécie pas la redite on a du mal a adhérer.
Les années 80 était friqué et superficielle, les années 90 on y rajoute le coté sociale, et les années 2000 mon l'air bien plus artificielles. Logique que le fond ou la forme ne puisse plaire, on est + dans un documentaire fiction que dans un polars suspense/action. Mais bon au milieu de tous les polars moyens qu'on nous pond chaque années. Celui-ci sans sort avec les honneurs me souvient que cette "été" là y avait pas eu grand chose a sauver dans les salles
Le problème de Michael Mann c'est qui ce répète, et dés lors si on apprécie pas la redite on a du mal a adhérer.
Bah, j'ai rien contre la redite. Par contre, ce qui m'emmerde, c'est de m'emmerder devant des films emmerdants. MIAMI VICE est un film purement emmerdant. Pas grand chose auquel se raccrocher. Il aurait ete preferable de faire une vraie adaptation avec des flamants roses, des couchers de soleil flamboyant, des carosseries rutilantes au soleil... A la place, on a une image de merde du coup le côté artificiel du fond explose littéralement dans ma gueule et ca me fait profondemment chier d'avoir perdu du temps la dessus !
Il n'y a rien de pire qu'un film emmerdant !
Un film emmerdant, c'est un film raté !
Des polars mieux fait que MIAMI VICE ces dernieres années, c'est un gag ? Ils sont tous mieux meme les plus mauvais : NARC, TRAFFIC, TRAINING DAY, le truc avec Kurt Russell avec les emeutes, etc... Je n'ai vu aucun polar aussi mal branlé que ce MIAMI VICE. Le film francais avec Depardieu, Quai des orfevres, je sais plus, j'ai un trou de memoire, c'est largement au dessus de MIAMI VICE. Il y a des personnages, ils vivent, ils existent... Et ON NE S'EMMERDE PAS !
Il n'y a rien de pire qu'un film emmerdant !
Un film emmerdant, c'est un film raté !
Des polars mieux fait que MIAMI VICE ces dernieres années, c'est un gag ? Ils sont tous mieux meme les plus mauvais : NARC, TRAFFIC, TRAINING DAY, le truc avec Kurt Russell avec les emeutes, etc... Je n'ai vu aucun polar aussi mal branlé que ce MIAMI VICE. Le film francais avec Depardieu, Quai des orfevres, je sais plus, j'ai un trou de memoire, c'est largement au dessus de MIAMI VICE. Il y a des personnages, ils vivent, ils existent... Et ON NE S'EMMERDE PAS !
"Fuck The World", Rambo