Miami. Doug works as a police officer, while his friend Steve quit his job in order to be a helicopter pilot. One day, Garrett, a thief they caught seven years ago for robbing 20 million $, is released from prison, but soon found dead under mysterious circumstances. Another one of his former accomplice that helped rob the bank is also dead, which leaves the third - and unknown - mastermind of the robbery seemingly safe for good. Steve decides to return to the police to investigate the case. Using clues and Garrett's ex jail mate, Steve and Doug realize that the third accomplice, Ralph Duran, had a plastic surgery, changed his face and became a respected businessman, Robert Delman. Using a tape and evidence, they manage to lure him into a basement and arrest him.
The 16th out of 17 Bud Spencer-Terence Hill films in total, "Miami Supercops" did not fare even half as well at the box office as their previous collaborations, marking the longest time period until their next - and final - film showed up, "Troublemakers", released nine years after this one. Even though it plays out on the same location and has the two protagonists again playing cops, "Miami Supercops" is not a sequel to their much more popular comedy "Two Supercops". "Miami Supercops" is indeed not much of a comedy, but it fares better as a pure crime flick since it seems as if Spencer and Hill deliberately abandoned the comical territory (there are only two short trademark fist fights of theirs here, and even they are abrogated hastily) - maybe trying not to get typecast? - and went on to play a more serious pair of a storyline, which Spencer took way overboard with his "Extralarge" crime series. Even the finale, where there is a real duel in the basement with the heroes and the bad guys shooting at each other, takes a more sober approach. However, R. Chandler or E. Leonard it is not. It is a cozy, though standard mystery story that gets investigated by the duo, done in a relaxed fashion, yet without passion, spark or many memorable moments. Finding out who the bad guy is, is all right, yet it was not set up to be a true surprise or a payout for the viewers. The best job was done by the (occasionally) interesting camera work, such as the steadicam shot that follows Hill returning a crook from the street into the bus again.
Grade;+
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