Don't listen to the Hype. It's awful

As Good As It Gets

A Major Disappointment

It’s sentimental, ridiculously long and only occasionally funny

This budget-starved Italian action/sci-fi hybrid features David Warbeck as a Miami reporter who is chosen by the ghosts of the people of Atlantis (!) to stop an evil businessman (Academy Award nominee John Ireland) from using a telepathic fetus grown using spores from an asteroid to rule the world. You got all that? Despite such a loopy plot, this is actually quite a bore and the RAIDERS OF ATLANTIS sneers at it with contempt. Honestly, the most (intentionally) creative thing about this flick is the slight reworking of Herbie Hancock's BEVERLY HILLS COP theme for the opening titles. The most unintentionally creative bit involves a scene in a lab that is inexplicably shown twice back-to-back. Perhaps director Alberto De Martino wanted to get all avant garde on us in the twilight of his career? I was going to declare this Ireland's worst film on his resume but then I saw SATAN'S CHEERLEADERS was listed on there. I would also like to safely declare that I am probably the only person in the history of the world to do a double feature of this and Hitchcock's VERTIGO.

Miami Golem aka Miami Horror is a saucy little mish mash of adventure. It's not horror, action or sci-fi; it's really a tacky combo of Hollywood elements &cliches sort of strung together logically. Stars David Warbeck and Laura Trotter put together solid performances. And the rest of the cast is up to task as well. At the end of his career, Albert DeMartino directs what is essentially a cornball script quite well. Some great photography of Miami is exploited by the filmmakers, in order to hammer home the concept that, this is indeed Miami. Which brings us to the issue of the other word in the title; golem/horror. Now, this little fella is ridiculously silly in appearance, yes. But so was Miami in the 80's and did I mention the script? Hilarious. As for the music, other reviewers have noted the obvious borrowing of Beverly Hills Cop motifs. But this happens only during the opening credits montage. The rest of the score works very well for helping to propel the corny script. Why the composer Detto Mariano so blatantly "borrowed" Axel's Theme is anybody's guess, but again, this is only during the very beginning of the freaking movie, so its not as big a deal as other reviewers have noted. Other musical passages are very dramatic and/or intense. Miami Golem is worth a look if you enjoyed such films as Devil Fish, Pod People or Puma Man. It is a charming little action movie that has ambitions which are reached for with endearing failure. Also I think it is interesting to note that Warbeck & Trotter each appeared in perhaps the 2 most special of all the Italian Horror films released in 1981, The Beyond & Nightmare City, respectively. In my mind these films represent the pinnacle of Italian Horror during the final part of its most amazing era. Although Miami Golem does not come near the level of visceral engagement those films create, it is nonetheless solid, this may almost be top notch entertainment.

Unimpressive minor entry in the action/horror subcategory, take note that the "action" basically amounts to beat-to-hell old things which are already headed for a landfill being obliterated or set ablaze. As for the "horror" aspect...that would be a fetal baby with heavy mascara in a pickling jar(supposedly an alien of awesome destructive power). The blink of of nudity we're offered is of the leading lady, whose looks fall somewhere in the lesser end of average. In one especially hilarious and unbelievable drop-of-the-ball, there's a lengthy scene which twice-consecutively repeats itself for absolutely no reason at all. The most easily-detectable flub imaginable actually made it through the post-production stage of this floundering hunk-o'-junk, unless it happens to be a blooper specific to the particular video release I was subjected to...in any case, it's a mind-blowing gaffe.Another impotent selection from the late David Warbeck's woefully disconsonant filmography. He was a fine actor sadly choked in weak material, and his presence signifies the sole point of distinction in this irksome celebration of stupidity.3.5/10

A reporter, Craig Milford, who works for The James Keller Public Telecommunication Center, has an interview with a German professor of a Floridian university, who made an unknown creature based upon some substance of meteor(s). But then a man named Anderson, who is trying to control the whole planet with the creature, and his man kill the professor and his assistants and plunder the creature. So Craig and his new female psychic partner, Joanna Fitzgerald, who can communicate not only with human being but also with alien friend(s) of the creature, begin to find the creature and try to send it to an alien spaceship... This film has some great casts and staffs. For instance, it has the actor, David Warbeck of THE BEYOND, the actress, Laura Trotter of NIGHTMARE CITY, the special visual effects creator, Sergio Stivaletti of Dario Argento's masterpieces, and the director (and also the story- writer), Alberto De Martino of THE MAN WITH ICY EYES and THE KILLER IS ON THE PHONE. And these talented people make an incredibly bad film, named, nothing but this MIAMI GOLEM which is essentially a confusedly combined film of CLOSE ENCOUNTERS OF THE THIRD KIND with E.T.THE EXTRA-TERRESTRIAL. And this not-only-confused-but-also-crammed film has something worth; genetic engineering with psychical research. Consequently the film has at least one scientific and/or technical flaw; genetic engineering and psychical research are never compatible. (Strangely enough, regarding this strangely childish combination of genetic engineering and psychical research, the leading character, Craig, himself says THERE MUST BE A BETTER EXPLANATION to the short-haired psychic, Joanna. But, after all, the whole story of the film doesn't and can't present any kind of BETTER EXPLANATION.) In addition, this film has something more laughable; its problematic music. What the composer, who is credited as Robert Marry, provides is nothing but the strangely insistent BEVERLY-HILLS-COP-tasted music. I don't want to say this Italianised theme of BEVERLY HILLS COP per se is particularly bad music, but I have to say it seems to be manifestly clear the music does not have the fitness for this film per se at all. Indeed just who can think BEVERLY HILLS COP has the compatibility with genetic engineering and/or psychical research?