Roger Ebert Claimed the Wrong Person Directed This 35-Year-Old Alec Baldwin Thriller (& He Was Absolutely Right)

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Thrillers are notoriously challenging to perfect, with the art of creating them comparable to the relentless counting down of a time bomb within the movies themselves. A single error can lead to an explosion of plot holes. Yet, this difficulty hasn’t deterred renowned filmmakers from attempting to master this genre, as some of the most outstanding films ever produced fall under the thriller category. These range from the thought-provoking works of Christopher Nolan, such as his many intricate films, to internationally acclaimed classics like “Old Boy” and “High and Low,” or timeless Hollywood productions like “Double Indemnity” and “Rear Window.” Over the decades, in every corner of the globe, various filmmakers have given it a go, often resulting in cinematic masterpieces.

While not every director can achieve the same level of success as Christopher Nolan, Alfred Hitchcock, or Park Chan-wook, it’s worth noting that some directors have had notable failures in their careers. One such example is George Armitage, whose film “Miami Blues,” released in 1990, failed to reach its full potential due to the director’s involvement. Despite becoming a cult classic with an avid fanbase led by Alec Baldwin, critics like Roger Ebert have consistently pointed out that a change of directors could have significantly improved the film.

What is Miami Blues About?

The movie “Miami Blues” is often overlooked in the impressive collection that is its genre. Although it may not quite match the greatness of films like “Pulp Fiction, Heat, and Thelma and Louise“, it certainly warrants recognition for its innovative take on crime thrillers. The film skillfully combines raw comedy, satire, and implausible gags with authentic drama, captivating romance, and suspenseful action sequences. If there’s ever been a cinematic roller coaster ride of tones, “Miami Blues” is it, and it’s an experience that needs to be witnessed firsthand.

The movie “Miami Blues” mainly focuses on the character Frederick “Junior” Frenger (played by Alec Baldwin), who has just been released from prison and is looking for a fresh start in Miami. However, he finds himself drawn back into a life of crime, starting with a murder at the airport, moving on to living with a prostitute, and even stealing a detective’s badge and gun. With a growing romantic interest by his side and his newly acquired stolen police badge, Junior pretends to be a cop. Despite his initial longing for a peaceful home life, he is once again captivated by the seemingly endless benefits of a criminal lifestyle, launching an extraordinary crime spree.

With Junior’s criminal activities becoming more daring and risky, the police officer, Moseley, whom Junior had deceived, starts to pick up on the growing trail of evidence. As the amusing yet criminal escapades escalate, so does the danger, as Moseley finds himself in a lethal game of cat-and-mouse with Junior. Amidst this high-stakes chase, Susie, a prostitute and struggling student who has formed a relationship with Junior, finds herself in a difficult position, torn between her affection for the imposter she now loves, and the determined detective tracking him down.

Miami Blues delves into a bizarre universe of crime, offering a blend of satire and edge that also caters to the conventions of a typical thriller. The unique yet unpredictable nature of this film, initially attracting a cult audience, is simultaneously its strength and weakness; it resonated with fans of the absurd, particularly those fond of Charles Willeford’s original work, but failed to strike a chord with mainstream audiences. It’s not hard to understand why the film might have seemed strange at first glance.

The movie carries a strong emotional core (the bond between Junior and Susie), but at the same time, it sets up various obstacles that curb the audience’s expected emotional response. Fans of Miami Blues might acknowledge that most serious moments in the film are somehow humorously portrayed. In fact, even the movie’s emotional peak is punctuated with a clever remark and an amusing slapstick incident. This characteristic is entertaining and funny for those who understand the film’s unique style, but it has been found to be quite off-putting for those unfamiliar with the bizarre aspects of Willeford’s writing.

The changes in tone led to a less-than-impressive reception critically speaking. As of 2025, the movie “Miami Blues” boasts two decent scores on Rotten Tomatoes. Critics have given it an 85% rating, while audiences have rated it at 62%. However, this level of appreciation wasn’t consistently present at its initial release. One significant review that pointed out the film’s flaws was penned by Roger Ebert, a renowned critic known for his bluntness and straightforward approach to criticism.

Roger Ebert Had Harsh Words for Miami Blues

As a devoted cinephile, I can’t help but admire Roger Ebert – a critic whose views on movies were as diverse as the films themselves. From his contentious ratings for cinematic masterpieces like David Lynch’s “Blue Velvet,” to the original “Godzilla,” or his unconventional praise for critically panned productions such as the Best Picture winner, “Crash,” and “Home Alone 3,” Ebert never shied away from expressing his strong opinions. Whether I agreed with him or not, his passion for cinema was always evident at the “At the Movies” table, where he wasn’t afraid to use harsh words to make his point.

In 1990, one of the unexpected criticisms that came his way was for the film “Miami Blues”. Known for his deep interest in cinema, Roger Ebert, as a filmmaking expert, often appreciated the work of various directors. Given that George Armitage, a disciple in the exploitation film genre, was connected to this film, many anticipated that it would resonate with Ebert. Moreover, the production was handled by Jonathan Demme, whose films consistently received high praise from Ebert. With all these factors suggesting a favorable reception, everything seemed to be going well for Armitage. However, things took an unexpected turn when Roger Ebert gave “Miami Blues” a 2/4 rating, a surprising and significant blow.

Roger Ebert found numerous aspects of the movie disappointing. He felt that the performances were overly caricature-like, and Alec Baldwin, who usually excels at portraying intelligent characters, struggled to play the eccentric role of Frederick “Junior” Frenger. Another issue was the one-dimensional nature of the wacky character cast. However, these criticisms were outweighed by his main complaint: he disliked the director’s work on the film.

As a movie enthusiast, I recently had the pleasure of watching “Miami Blues,” a film that’s a testament to the artistic vision of George Armitage and Jonathan Demme. Both alumni of Roger Corman’s budget-conscious exploitation factory from the ’60s, where Armitage helmed “Private Duty Nurses” and Demme penned “Angels Hard as They Come.” Demme has since carved out his unique, engaging directorial style in films like “Married to the Mob” and “Something Wild,” but it seems that he struggled to replicate this magic consistently in “Miami Blues.” There are moments where the film’s rhythm feels distinctly Demme-esque.

Ebert didn’t view Armitage negatively at all, but he admired the way Jonathan Demme could turn bizarre scenarios into something relatable. In this statement, Ebert makes an apt comparison. The movie “Married to the Mob,” directed by Demme and featuring Alec Baldwin, is a comedy crime film filled with slapstick humor similar to “Miami Blues.” However, unlike “Miami Blues,” “Married to the Mob” knows when to ease up on the intensity.

The movie “Married to the Mob” skillfully shows that for a successful blend of outrageous humor and intense criminal elements, it’s crucial to maintain a clear boundary between them. While less significant scenes can combine these mismatched genres, during the climactic ending, one genre should dominate. Ebert is correct in stating that if Demme had directed “Miami Blues,” it would have been an entirely different film. Demme has consistently shown his ability to merge comedy with crime, but unfortunately, his role as a producer on “Miami Blues” didn’t translate into the film’s success.

Despite the persistent shifts in critical opinion, Miami Blues continues to captivate as an intriguing demonstration of when a film’s aspirations surpass its actualization. Although a change in the director might have improved the movie, George Armitage’s work remains an exhilarating and essential crime classic to watch. Despite not reaching its potential to be a genre-defining masterpiece due to some inconsistency in tone, Miami Blues still offers a gripping, original, and lasting perspective on the challenging task of creating a compelling crime thriller.

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2025-05-31 03:21