Synopsis:

Based on the 1980s TV action/drama, this update focuses on vice detectives Crockett and Tubbs as their respective personal and professional lives become dangerously intertwined.

Intentions:

An edit of the once-derided-but-since-reclaimed, vibes-and-crime-and-mojitos-and-gofast-boats Michael Mann CLASSIC, made in honor of the “Miami Nice” podcast (from the creators of “One Heat Minute,”) where the concept of this cut originated; The "Miami Nice" Cut attemps to realize the hypothetical “best of both worlds” synthesis of Director’s Cut and Theatrical Version through a few well placed changes and one very key needledrop.

Change List:

For fans of Michael Mann's big-screen adaptation of the landmark television series, there’s usually a big dilemma: WHICH VERSION do you put on when you start to feel that familiar fiending for mojitos? The THEATRICAL CUT; which most people love for how abruptly and beautifully it starts and never slows down - or the DIRECTOR'S CUT; which most people love for how it fills out the side stories without detracting from the film's immaculate vibes. This cut tries to scratch that itch like this: * It begins as per the Director’s Cut: Silence under the Universal logo, and two title cards (Universal Pictures presents, A Michael Mann Film) and then black. * Cuts immediately from black to “Numb/Encore” in the club as per the Theatrical Cut * Movie then continues as per the Director’s Cut all the way to the Hospital meeting, just before the climactic shootout (specifically, when Crockett slams the trunk lid shut just before Yero calls him on the satellite phone) * Movie reverts back to the Theatrical Cut, before the Director’s Cut can (unfortunately) include the (not very good) Nonpoint cover of Phil Collins’ “In the Air Tonight.” * The ACTUAL Phil Collins recording of “In the Air Tonight” is instead placed into the sound mix as Castillo details the setup. * The movie proceeds from the climactic shootout to the End Titles as it would in the Theatrical Cut. The only new change is to replace the original end credits with a newly created suite using selections from the original score by John Murphy and Klaus Badelt.

Other Sources:

"In the Air Tonight" by Phil Collins

Special Thanks:

Blake Howard and Katie Walsh of One Heat Minute for the concept and the podcast.