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.

Watched this 80's movie on TV and it came with the latter-day warning about the dangers of flash photography, when in truth, it should have come with a warning for the ears, as it's filled almost from start to finish with shouts, screams, bangs and crashes. From that particular era when Hollywood was churning out slapstick marital rom-coms seemingly by the score ("Ruthless People", "First Wives Club" et. al.) "Miracles" seeks to emulate "Romancing The Stone" (sort of) but adds the twist of employing a UK actor in the lead role - Tom Conti, but inexplicably lumbering him with an American accent.

Unfortunately, Tom's accent, like the couple's ill-fated plane journey, bales out about half-way to its intended destination, while alongside him, Teri Garr, as his newly-divorced lawyer ex-wife gets all wet and emotional in a pink ball-gown she's required to wear from start to finish. Along the way, taking in the "miraculous" coincidences which presumably inform the film's title and see lots of little good things happen, usually to the indigenous Latin American population of the country they cross into, springing okay, miraculously, from their haphazard adventures, they arrive, you'll not be surprised to learn, at a happy ever after conclusion, reuniting them and seeing them re-marry over the closing sequence.

Christopher Lloyd gets to reprise his "Taxi" / "Back To The Future" kookiness but the law of diminishing returns was already applying by this time. For an episodic chase film like this to work, it helps if you've got likable characters, smart one-liners and exciting stunts. Unfortunately, this film has none of the above and thus seems far longer than it actually is so that you'll probably be glad, like me, when it reaches its nondescript ending.

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.