come anticipate Miami Vice with me

aesthetically it was manns best - in other ways it was one of his worst - but it all kinda worked in a purposely non working style - i enjoyed it immensely - especially the flying parts - so much so i saw it 2 times on teh big screen

it's funny to say something is too long and then say you'd rather watch heat.

― omaha deserved 311 (call all destroyer), Wednesday, November 18, 2009 10:32 AM (3 minutes ago) Bookmark Suggest Ban Permalink

uh? what i mean is: if i'm gonna watch a long-ass michael mann movie, i'd rather watch Heat

does anyone understand the promise and peril of dv better than mann - no one does - think abt it

also i think i would've enjoyed this MUCH more if i'd seen it in the theater

soderbergh, maybe? xp

i dunno

lol soderbergh doesnt know shit about shit

i fart on him

was gonna say

if u say so! i don't think i've seen a soderbergh movie since traffic (lol), just know that he's really "into" dv

i am not a soderbergh guy really but i thank him for telling clooney he sucked, causing him to vastly improve

but it was spielberg who told him to not move his head around so much

also obv i am retarded because i have seen all of the ocean's AND solaris (which i don't really remember thx w3333d)

lol out of sight is good - after that naaaaah

gotta say tho that i really, really love dv/HD when it's done right

mee too

there were a couple of crazily wonderful scenes in public enemies where i was all wow he just showed me something

public enemies is frustratin for me, there's stuff in it that's as good as anything he's done since heat but idk if i could even watch it again cuz of the scenes where the feds beat up his old lady, 2 hard 2 watch

yeah that was unpleasant

totally missed public enemies

will have to see it over the holidays

i dont....really see movies much

i see all of the movies

yeah gbx i knew what you meant but since you left out "if i'm gonna watch a long-ass michael mann movie" it kind of read funny.

i see all of the movies

― SMH (ice cr?m), Wednesday, November 18, 2009 11:50 AM

i know how do u manage to do that

special goggles

more like special *googles* imo

that too

from sharper image i bet

i used to just hang around in that store til they made me leave

me and my pals brandon and doug

does anyone understand the promise and peril of dv better than mann - no one does - think abt it

― SMH (ice cr?m), Wednesday, November 18, 2009 11:36 AM (31 minutes ago) Bookmark Suggest Ban Permalink

not sure he really understands the peril tbh

but ya i know what u mean about those moments in PE that were just... holy shit. for some reason the guy hanging out the car at the beginning... stayed with me more than anything else in the movie.

the scene when hes paraded in front of reporters at the airport looked so real or something

wonder if HD makes period costume design harder? like if the picture is super crisp it'll pick up the fact that costumes are costumes and not clothes that ppl have been living in?

def makes makeup/bad skin more challenging

oh totally, hadn't considered that

i didn't write that article no. it's starting to get a cult around it though this film. check the imdb for more 'omg this movie is soo under rated wtf' type geek talk.
i use geek in a non aggresive way there. seems to be one of those watch-it-many-times-over type movies for people too.

Kevin B. Lee hosted roundtable discussion

Keith Uhlich

Ryland Walker Knight

I don't want to see public enemies again, but I remember finding one or two of the big impact dramatic aria scenes way powerful mostly because of clarifying, unflattering video look. was a wreck by the end.

that article about MV was staggeringly bad by the way. felt like there was a solid 75 words in there though.

Didn't care for the night shootout in Public Enemies, the noisy digital look seemed terribly out of place in a period film.

wonder if HD makes period costume design harder? like if the picture is super crisp it'll pick up the fact that costumes are costumes and not clothes that ppl have been living in?

This was big problem for me with Public Enemies. So much of the clothing looked like costume, and things like matchboxes really looked like props.

Was also put off by the look in shootouts; was like a behind-the-scenes docu.

i thought it was sort of "mann-ish" in a slightly depressing way. the way that "face/off" was woo-ish. kind of an interesting movie in some respects, though i was bored for a lot of it.
― Amateur(ist) (Amateur(ist)), Saturday, July 29, 2006 3:06 PM (3 years ago) Bookmark

just watched this cause of the poll thread - this was otm I thought

thankfully I watched this on my laptop and surfed the web during the gong lzzzzzzzz parts

^^^no way to experience this phenomenal film

considering a suggest-ban

;]

going to watch it again to restore the balance of the universe

yeah yeah the film is gorgeous and all, real shame I didn't catch it in the theater when it came out etc. etc. but still am glad I wasn't made to sit through 40 minutes of colin farrell drinking mojitos

I guess plotwise the movie hinges on the sincerity of the gong li relationship thing, which wasn't really a very believable subplot in the first place. you don't make it more believable by devoting more screentime to it, in fact you expose it even more. hi let me show you a picture of my dead mother

lots of great subtleties in that dead mother scene

As featured in Slant's Top 20 of the decade http://www.slantmagazine.com/film/feature/best-of-the-aughts-film/216/page_9
and
Time Out's Top 50 http://newyork.timeout.com/articles/film/80947/the-tony-top-50-movies-of-the-decade/3.html

From the Slant piece:
A freestyle meditation on identity and self-perception, Miami Vice finds a perfect union of form and content via ravishingly rendered digital cinema, flattening the world into an expressionistic vista of interconnected tides and currents of bodies in space, subtextually loaded with ultra-gritty genre juice to spare. Michael Mann's recurring themes of freedom and the nature of will reach the metaphysical realm as the film scrutinizes the performance art inherent in undercover life, the metaphorical meaning we assign to our lives made literal. It's pulp and opera, an off-the-cuff balancing act, a liquid cinema statement from the moment Mann sends his everyman surrogate across the ocean he's for so long merely gazed upon. Like Moby's awesomely cued "One of These Mornings," it's a forever-remembered bliss.
-

Even i'm surprised by what now seems to be happening with this film.