Smartorhypo Highly Overrated But Still Good

Gutsycurene Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

Matylda Swan It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

elshikh4 At the time my personal TV was a black and white one, with only 3 active channels (OH MY GOD, WHAT A TRAGEDY THAT WAS !!). Anyhow, back then, I was having a very dull afternoon. But with this movie, it turned into Miracles! All of its elements clicked, especially the cast. Teri Garr is outrageously sexy. She can be innocent, annoying, comic, angry, and vivid, while being so hot in the same time. I rather think she's hot because of doing all of these previous things so self-evidently ! It's great to see her in a movie of this sort. Too bad that cinema didn't use her that well. She could have been a star of some romantic comedies at the time. But alas. In any case, I know that this is a reason why her fans, including me, must cherish this movie best.Tom Conti is fine. He made a productive duet with Teri (loved the scene in which the plane falls down while the 2 are insanely laughing on the situation itself). However why I thought that he was having a strange paroxysm of Peter Sellers ?? He seemed to me haunted, during the whole movie, by the late actor's soul, moves, voice,…etc !I love this comedy. It's filled up with action and mad events. The thing about it is that everything you don't expect happens. Yet, the best of it remains at the fact that this action comedy is about the return of love between 2 people. I just adore genre movies when they have MEANING.For a buddy-movies' freak like me, this movie IS important. It has the formula of "arguing man and woman on the run, who become lovers at last" (a common theme in these movies instead of "2 arguing men on the run, who become friends at last"). This formula is so familiar since older godfathers like Two Mules for Sister Sara (1970) and Foul Play (1978). Now in relation with 1986 I listed other similar movies of the same kind were produced, like for instance (No Mercy) and (Shanghai Surprise). Well, they ranged between disastrous and more disastrous. And it's clear that (Miracles) surpasses. Simply nothing was as funny, lusty, or lovable.Finally, it was black and white TV set, but – believe it or not – I just can't forget this movie's colors !

xxabmoore I'm a Tom Conti fan and was attracted to the movie because he was in it. After seeing it the first time I tried to count the number of miracles that occurred. Little ones and big ones, but what I liked best was how all the little miracles kept bringing the hero closer to where he was needed. I didn't realize this until the end of the movie. I enjoyed the way the relationship between the husband and wife changed due to adversity, how they came to depend on each other rather than being independent. The love story is honest, the adventure scenes exciting, the photography clear and colorful, not drab and gloomy. I've seen this movie several time and whenever I have a chance I get someone who hasn't seen it over to watch it. This is a great little movie with a big message.

rsoonsa Unless one nurses a passion for the totally insipid, this movie can not be recommended, since even a talented performer as is Teri Garr can not lift a single scene above a level of mediocrity. Roger (Tom Conti) and Jean (Garr) Briggs are divorcing after ten confrontational years of marriage and as they are separately driving to and from celebratory functions, their vehicles collide due to a swerving maneuver by Jean to avoid striking a fleeing burglar, played by Paul Rodriguez. The felon, Juan, kidnaps the Briggs pair and removes them to his residence where he, along with confederates, robs them and bundles the bound victims into a closet. The duo do not long remain secured and, when Juan's house is unaccountably assailed by a large contingent of police he, along with the Briggs couple naturally escape, evading pursuers while driving to an airport where Juan's partner in crime Harry ( Christopher Lloyd) awaits with a cargo plane laden with illegal narcotics. This aircraft takes off amid police gunfire, flying toward Latin America, piloted eventually by the nonexperienced Roger as the two criminals bail out and the film meanders on, with such as Mexican village police, a native witch doctor, and an assortment of odd miscellany contributing to what is apparently meant to be a type of madcap comedy. The awkwardly organized series of episodes that comprises the film is plotted for comedic effect, but the dialogue is consistently trite and forced, and intended witty bickering of Roger and Jean falls flat. Direction and story are both by Jim Kouf, and each is weak, with featured players having to verbally fill gaps in the action because of flaccid helmsmanship, a flaw that post-production polishing fails to eliminate through the editing process. Conti is miscast and his essays at fervid emotional expression only embarrass a viewer, with talented Garr betrayed throughout by a double handicap of a foolish screenplay and hapless direction.

jtur88 This is probably the last movie ever made using a script that was written for Abbott and Costello. Even the incidental music was reminiscent of the slapstick comedies of the 40-s. It's the Bowery Boys in modern dress. It's worse than Ishtar. Parts that were spoken in Spanish were subtitled in English---but parts that were spoken in Indian were subtitled in Spanish!This film could be used for instructional purposes in a film school: Don't ever, ever, ever do anything the way it was done in this film.