In 1978, $20 million was stolen from a Detroit bank. One of the robbers was caught, one was found dead, and the third disappeared. The money was never found. Seven years later, the robber who was caught was released from jail. He immediately went to Miami, only to be found dead the next day. Now FBI agents Doug Bennet and Steve Forest have been called in to investigate the case while posing as Miami police officers. Somewhere in Miami the third robber is hiding with his $20 million, and he has a seven-year head start on the authorities.
In 1978, $20 million was stolen from a Detroit bank. One of the robbers was caught, one was found dead, and the third disappeared. The money was never found. Seven years later, the robber who was caught was released from jail. He immediately went to Miami, only to be found dead the next day. Now FBI agents Doug Bennet and Steve Forest have been called in to investigate the case while posing as Miami police officers. Somewhere in Miami the third robber is hiding with his $20 million, and he has a seven-year head start on the authorities.
The film is a straightforward action-comedy focused on crime-solving and entertainment, lacking any explicit or dominant political messaging from either the left or the right. Its central conflict and solution are apolitical, centering on individual police work against generic criminals.
The movie features a traditional cast, primarily consisting of white male protagonists, without any intentional race or gender swaps of established roles. The narrative maintains a neutral to positive portrayal of traditional identities, with no explicit critique or central DEI themes.
Miami Supercops, an 80s action-comedy, does not feature any identifiable LGBTQ+ characters or themes within its plot or character arcs. The narrative centers on a buddy-cop dynamic and crime investigation, without engaging with queer identities or experiences. Therefore, the film has no discernible impact on the portrayal of LGBTQ+ individuals.
The film primarily features two male protagonists who engage in physical combat. No female characters are depicted participating in or winning close-quarters physical fights against male opponents.
Miami Supercops is an original film featuring new characters, not an adaptation or reboot of existing material with established character genders. Therefore, no gender swaps occur.
Miami Supercops is an original film from 1985, not an adaptation of existing source material or a biopic. Its characters do not have pre-established canonical or historical racial identities that could be altered.
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