I had the pleasure of rewatching Miami Vice the other day and was reminded of what a great experience this film is. I wondered if I’d still enjoy it after years away, but within the first five minutes, I caught myself thinking, “Oh right, this is a classic.” One thing I love about this movie is that it throws you right into the action. It doesn’t hold your hand—you’re expected to let go of any preconceived notions and just ride the wave. You hear a few seconds of music, and suddenly you’re inside a seedy Miami nightclub, right as things are about to get intense. The two protagonists, played by Colin Farrell and Jamie Foxx, carry themselves with a cool, subdued demeanor that feels authentic rather than over the top.

Miami Vice was released in 2006 to a lackluster response, but its appreciation has steadily grown over the years. Critics, filmmakers, and fans have come forward to sing its praises, and I think that says a lot about the depth of this film. What some initially saw as just another disposable Michael Mann movie reveals itself, on closer inspection, to be layered and rich in design. It practically begs for rewatching. I guarantee that on your second or third viewing, you’ll catch details that went unnoticed the first time around.

This may not be Mann’s most famous work—or even his best—but it’s my personal favorite. The cinematography is sublime and ahead of its time. Mann shot most of it using digital cameras, and he places you directly in the thick of things. You feel like a fly on the wall during tense conversations. The spontaneous boat trip to Havana, underscored by a haunting Moby track, is a standout—visually and emotionally powerful. That sequence alone gave me chills. The atmosphere lingers long after the credits roll.

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