From the beginning of his career, Armitage demonstrated a fascination with people who lived on the margins of conventional morality. He was drawn to criminals who were charming and absurd, to ordinary individuals who found themselves entangled in extraordinary circumstances, and to situations where humor emerged not as relief but as revelation. His storytelling instinct was less about shocking an audience and more about inviting them into an uneasy familiarity with flawed human beings. That approach came into sharp focus with Miami Blues, a film that announced Armitage as a filmmaker unafraid to subvert expectations. What could have been a straightforward crime thriller instead became a sharp, character-driven exploration of deception, impulse, and consequence, carried by dialogue that crackled with wit. The film’s tone was neither mocking nor sentimental; it simply allowed its characters to exist in their contradictions. In doing so, Armitage showed that genre films did not have to choose between intelligence and entertainment. They could be both, and more.