Alright, fellow tapeheads, let’s rewind to a time when video store shelves were packed with square-jawed heroes, neon-drenched cityscapes, and the promise of uncomplicated, fist-flying fun. Digging through that glorious clutter often unearthed gems, and sometimes, you stumbled upon imports that felt both familiar and delightfully foreign. Case in point: 1985’s Miami Supercops, a film that practically radiates the cathode-ray glow of a Saturday night rental. Seeing the names Terence Hill and Bud Spencer on the box? Instant grab. You knew exactly what you were in for: charming rogues, impossible situations, and brawls choreographed like a beautiful, bone-crunching ballet.
### That Old Familiar Magic, Sunshine State Style
The setup is pure 80s comfort food. A cool $20 million vanished from a Detroit bank years ago, the robber supposedly perished, but now a surviving accomplice is spotted living large in Miami. Enter FBI agents Doug Bennet (Terence Hill) and Steve Forrest (Bud Spencer) – well, former agents. Doug’s now running a flight school (with questionable safety standards, naturally), and Steve’s… well, Steve’s being Bud Spencer, gruffly content until duty (or Doug) calls. They’re coaxed back, unofficially of course, to go undercover as Miami beat cops to track down the missing loot and the mastermind behind the original heist.
What follows isn't exactly Miami Vice grit, despite the location filming lending some authentic Floridian flavour. This is the tried-and-true Hill/Spencer formula, transplanted stateside under the direction of Bruno Corbucci. Now, Bruno Corbucci might not have the Spaghetti Western clout of his brother, the legendary Sergio Corbucci (Django, The Great Silence), but Bruno carved out his own niche in Italian popular cinema, particularly with comedies and action romps like this one. What's fascinating is that the script bears the touch of Luciano Vincenzoni, a co-writer on monumental films like The Good, the Bad and the Ugly (1966)! It’s a reminder that even seemingly straightforward genre flicks often had serious talent behind the typewriter.
### Fists, Fun, and Practical Mayhem
Let’s talk action, because that’s the real draw here. Forget hyper-edited, CGI-enhanced modern fight scenes. This is glorious, tactile, practical mayhem. Terence Hill, ever the nimble charmer with impossibly blue eyes, darts and weaves, delivering swift kicks and cheeky takedowns. Bud Spencer, a force of nature disguised as a grumpy teddy bear, lumbers through adversaries, his signature hammer blows and backhand slaps landing with those perfect, almost cartoonish THWACKS and SMACKS that echoed through living rooms everywhere. Remember those sound effects? They were practically a character in themselves!
The fights are frequent, sprawling, and often hilariously illogical. A bar brawl erupts because… well, because it’s Tuesday. Bad guys line up almost politely to get pummeled. It’s less about realism and more about the sheer joy of watching these two masters of comedic destruction dismantle roomfuls of goons. There are car chases too, feeling appropriately weighty and dangerous for the era – real metal, real tyres squealing on real pavement. You felt the bumps, the near misses, the sheer kinetic energy in a way that often gets smoothed out today. Wasn't that raw, unpolished feel part of the thrill back then?
This film came towards the latter end of their iconic partnership, which started way back with films like God Forgives... I Don't! (1967) and hit massive international highs with the Trinity series and standalone classics like Watch Out, We're Mad! (1974). By Miami Supercops, the formula was well-honed, maybe even a little predictable, but the chemistry between Hill and Spencer remained undeniable. Hill’s playful persistence chipping away at Spencer’s stoic exasperation is comedy gold, transcending language barriers (even through the often-dubious English dubs found on VHS).
### That Irresistible 80s Vibe
Beyond the dynamic duo, the film offers a snapshot of mid-80s Miami – the cars, the clothes, the sheer vibe of the era. C.B. Seay plays the smooth, yacht-owning villain with requisite smugness, the perfect foil for our scruffy heroes pretending to be cops. The plot itself is serviceable, a simple framework to hang the action set pieces and comedic banter on. You weren't renting Miami Supercops for intricate plotting; you were renting it for the feeling.
I distinctly remember finding this tape at the local 'Video Palace', sandwiched between Commando and Beverly Hills Cop. It felt like a familiar comfort, even if the leads weren't American household names in the same way. In Europe, these guys were megastars, their films often topping box office charts. Here, they were beloved cult figures, staples of the action-comedy rental aisle. The film reportedly did well internationally, continuing their run of success, even if it didn't make huge waves stateside theatrically. It found its audience where we often found our favourites – on home video.
### Final Verdict
Miami Supercops isn't high art, nor does it pretend to be. It's a charming, slightly goofy, action-packed romp powered by one of cinema's most enduring comedic partnerships. The plot is thin, some jokes might land with a thud today, and the pacing occasionally reflects its Italian genre roots. But the action, grounded in practical stunts and the unique physicality of its stars, still entertains. The nostalgic hit is potent, capturing a specific flavour of 80s action-comedy that’s hard to replicate.
Rating: 7/10
Why 7? It delivers exactly what it promises: Hill and Spencer doing their thing with gusto. The action is fun, the chemistry is electric, and the 80s Miami setting adds flavour. It loses points for a predictable plot and moments that feel slightly formulaic even within their own filmography, but the sheer charm and satisfyingly crunchy fight scenes make it a worthy revisit.
Final Thought: For a blast of pure, unadulterated 80s VHS joy, complete with those iconic punch sound effects that probably shook your tracking adjustment knob loose, Miami Supercops still delivers the goods. Pop it in, grab some snacks, and enjoy the delightful thud of justice, Italian style.