Film Review: The Return of the Living Dead (1985)

Release Date: August 16th, 1985
Directed by: Dan O’Bannon
Written by: John Russo, Rudy Ricci, Russell Streiner, Dan O’Bannon
Music by: Matt Clifford, Francis Haines
Cast: Clu Gulager, James Karen, Don Calfa, Thom Mathews, Miguel A. Núñez Jr., Linnea Quigley

Hemdale Film Corporation, A Greenberg Brothers Partnership, Orion Pictures, 91 Minutes

Review:

“Listen, there’s a bunch of people from the cemetery who are stark, staring, mad, and they’ll kill you and eat you if they catch you. It’s like a disease. It’s like rabies, only faster, a lot faster. That’s why you’ve got to come and get us out of here now… right now!” – Burt Wilson

There are very few movies as awesome as The Return of the Living Dead. It is, hands down, the greatest zombie comedy ever put to celluloid… sorry, Shaun of the Dead. It is also balls to the wall insane from beginning to end while being full of punk teens, great older actors and the best zombie hoard in the history of motion pictures.

Like Dawn of the Dead, which was George A. Romero’s sequel to Night of the Living Dead, this film is also a sequel (in a way), as John A. Russo was the other half of the creative duo that gave birth to that original film back in 1968.

The Return of the Living Dead is an alternate continuity to Romero’s Living Dead universe, though. In fact, the original film is mentioned in this picture, as it is a movie that exists within this alternate timeline. However, the movie is referenced and casually dismissed as a Hollywood version of the “real story”. This film continues off of that original story, which is established in a conversation between two of the characters very early on.

The reason for the split continuities, is that Romero and Russo had creative differences over the property. Romero even went as far as to send Russo a cease and desist order over this film, which effected the marketing but ultimately, didn’t stop the film from being released and spawning its own sequels.

Romero purists will probably hate me for saying this but this is my favorite Living Dead film. It is also my favorite zombie picture. I wouldn’t say that it is the greatest, as far as overall artistry is concerned, but it is the one that I watch the most and have the largest amount of appreciation for. The film is just fucking cool and that is really an understatement.

Initially, Russo wrote a Return of the Living Dead novel and shopped it around Hollywood to be adapted. At one point, Tobe Hooper (The Texas Chain Saw Massacre 1 & 2Poltergeist, The Funhouse) was slated to direct the film but that fell through. Ultimately, what we got was this, which is better than what the Hooper film probably would have been.

In this film, we quickly learn that zombies don’t die by destroying their brains. The zombies can be dismembered, have their heads knocked off and still keep coming. They’re essentially impossible to kill. At one point, they cremate a pile of animated zombie parts. However, the smoke from the crematorium goes up into the clouds, which rain onto the graveyard, reanimating the dead. There really isn’t an effective way to kill the zombies, which makes the threat in this film, infinitely worse. Not to mention the fact that they move with speed and want to eat human brains.

I know that they don’t give out Oscars for pictures like these but James Karen put on a performance that was legendary. He was a hilarious and useless doofus that accidentally set the zombie threat free. All he did from that point forward was freak out and whine but he did it with such believable gusto that it is impossible not to be captivated by his absurd character and to love the scenes that he’s in.

We also get Miguel A. Núñez Jr. in my favorite role that he ever played. He’s a punk rocker that kind of acts like a damsel in distress but it works. Linnea Quigley also shows up, gets butt naked and dances on a tomb because this is the kind of stuff she was best known for. It is also her most memorable role, in my opinion. Don Calfa, probably best known as the killer in Weekend At Bernie’s is the guy who works at the crematorium and he’s also fantastic in this. Clu Gulager is perfect as the no nonsense older alpha male lead; Thom Mathews, one of the Tommy Jarvises in the Friday the 13th film series, pulls his weight too.

This film, for what it is, is absolutely perfect, which is why I have to give it the highest score possible. I used to love watching this when it rotated in and out of Joe Bob Briggs’ MonsterVision on TNT back in the 90s but nothing beats watching the unedited non-television version. How else are you going to see the beautiful gore and Ms. Quigley’s glorious breasties? Her bum is quite exceptional too, for the record.

The Return of the Living Dead could make a case for being the coolest movie of all-time. It probably isn’t for everyone but for kids who grew up watching horror in the 80s, this thing is a friggin’ masterpiece.

Plus, it features music from The Cramps, who were the most perfect band to feature in this film. It was tailor made for their tunes.

Film Review: Fright Night (1985)

Release Date: August 2nd, 1985
Directed by: Tom Holland
Written by: Tom Holland
Music by: Brad Fiedel
Cast: Chris Sarandon, William Ragsdale, Amanda Bearse, Stephen Geoffreys, Roddy McDowall

Vistar Films, Columbia Pictures, 106 Minutes

Review:

“Hello, Edward. You don’t have to be afraid of me. I know what it’s like being different. Only they won’t pick on you anymore… or beat you up. I’ll see to that. All you have to do is take my hand. Go on, Edward. Take my hand!” – Jerry Dandridge

This was one of those movies I discovered at the video store, as a kid in the 80s. Once I found it, I rented it almost monthly for a year or two. That was, until the crappy sequel came out and sucked the wind out of this film’s sails. It could have been a stellar franchise but it wasn’t. However, this picture is still a classic and always will be, in my opinion. Frankly, they should have just left the movie alone and never made a sequel or that reboot.

Chris Sarandon makes a pretty good vampire. While he is technically the star of the picture, this really is a good small ensemble piece, though.

William Ragsdale really gets the most screen time. This was before he had that cool Fox sitcom Herman’s Head and this was his most famous role outside of that show. His girlfriend is played by Amanda Bearse, who would also go on to be in a major Fox sitcom shortly after, Married… with Children.

The cast was rounded out by veteran Roddy McDowall, who is superb in this, and Stephen Geoffreys, whose character “Evil Ed” gave birth to two of the most overused catchphrases in the 1980s: “You’re so cool, Brewster!” and “To what do I owe this dubious pleasure?”

The film is an 80s teen horror romp. It exists in a similar vein to movies like Night of the Creeps and The Monster Squad, albeit more violent and less child friendly than the latter.

The special effects are pretty good but this was when practical effects were at an all-time high and the effects maestros of the 80s were on a different level, especially in regards to their ingenuity and creativity. The wolf effects, at the end, as well as the final battle between the heroes and the vampire were great. There’s a reason why I love movies like this, the aforementioned and An American Werewolf In London. Even at their most absurd, they still have a sense of realism because what you see is there in the physical world on set.

Fright Night is one of the top horror films of the 80s that isn’t connected to a famous slasher. It sort of revitalized the fantasy horror genre at a time when Jason Voorhees was chopping through everything in sight.

Film Review: Silver Bullet (1985)

Release Date: October 11th, 1985
Directed by: Dan Attias
Written by: Stephen King
Based on: Cycle of the Werewolf by Stephen King
Music by: Jay Chattaway
Cast: Gary Busey, Everett McGill, Corey Haim, Megan Follows, Terry O’Quinn, Lawrence Tierney, Bill Smitrovich, Kent Broadhurst, David Hart, James Gammon

Paramount Pictures, 95 Minutes

Review:

“I mean, uh, what the heck you gonna shoot a .44 bullet at anyway… made out of silver?” – Uncle Red, “How about a werewolf?” – Mac

I’ve made no secret that I’m not a big Stephen King fan but maybe there is something to be said about film adaptations of his work where he actually provides the screenplay because Silver Bullet is a pretty good picture.

It is a typical werewolf story and there were several big werewolf movies in the 1980s but this one is only eclipsed by An American Werewolf In London, which is a true classic. While The Howling is beloved by many, and I like it a lot too, Silver Bullet surpasses it.

The film stars the always insane Gary Busey, as well as Corey Haim when he was still cute and showed some promise as an actor. The film also features Everett McGill, who was great in Twin Peaks, as well as small parts by Terry O’Quinn a.k.a. John Locke from Lost and Lawrence Tierney, the boss from Reservoir Dogs.

The movie utilizes some pretty stellar practical effects. In fact, it wastes no time in showing you the werewolf in action and it isn’t afraid to keep it obscured in an effort to hide flaws in the effects. The werewolf looks damn good and seeing it rip people to shreds from the get go is a real treat. Even the transformations of the werewolf look good.

One scene that was absolutely impressive was the hallucination in the church where we see all the townspeople transforming. I can’t imagine how difficult this was to capture in the mid-80s with budgetary constraints and without CGI to fill in the blanks.

The story of Silver Bullet is initially a whodunit mystery with a werewolf twist. Once the reveal happens, midway through the film, it goes into high octane and never relents until the big finale, which may be a bit hokey but is still really awesome.

Silver Bullet is pretty underrated and fans today don’t seem to know much about it. There were a lot of Stephen King adaptations that were a lot more popular than this one but this is definitely one of the best. It is infinitely superior to that 1990 television miniseries shitfest It. In fact, it is superior to all of the television miniseries of King’s works that were super popular throughout the 70s, 80s and 90s.

And don’t be fooled by those lackluster King adaptations, this one has a great amount of blood and gore. It also has some humor, as the werewolf steals the baseball bat from an attacker and uses it against him.

Film Review: Re-Animator (1985)

Also known as: H.P. Lovecraft’s Re-Animator
Release Date: October 18th, 1985
Directed by: Stuart Gordon
Written by: Stuart Gordon, William J. Norris, Dennis Paoli
Based on: Herbert West – Reanimator by H.P. Lovecraft
Music by: Richard Band
Cast: Jeffrey Combs, Bruce Abbott, Barbara Crampton, David Gale, Robert Sampson

Re-Animator Productions, Empire International Pictures, 86 Minutes

Review:

“I must say, Dr. Hill, I’m very disappointed in you. You steal the secret of life and death, and here you are trysting with a bubble-headed coed. You’re not even a second-rate scientist!” – Herbert West

Re-Animator is one of those movies I have to go back and rewatch every couple of years. And every time that I do, I am always surprised by it, even though I’ve seen it multiple times.

Reason being, is that much of this movie, especially the final third is so bizarre and surreal that it still sort of shocks the senses. The last fifteen minutes or so crosses certain lines that still make you feel uncomfortable, regardless of how many times you’ve seen the picture. I don’t want to go into the details of it, because I’d prefer not to spoil this movie for those who have yet to see it.

This is a 1980s modernization of an H.P. Lovecraft story. It is somewhat of a spin on the Frankenstein tale but goes to even darker places than Mary Shelley’s literary masterpiece.

The villain (or hero, depending upon your point of view), Herbert West, is a medical student that has just returned from a stint in Switzerland. He has expanded on the work of a notable doctor and has found a way to reanimate the brains of the deceased and thus, their bodies or what’s left of them. It sort of marries the Frankenstein concept and the zombie genre.

The special effects in this film are pretty well done for the most part but the budgetary limitations are very apparent. For instance, the scene where the zombie cat is on West’s back is pretty silly and plays like slapstick but the film really is a black comedy and this plays that up with its hokiness. However, the majority of the zombie effects are well handled and executed.

The cast is decent but it is Jeffrey Combs, as Herbert West, that steals the show and this was a launching pad for his career. He’s since gone on to be a horror icon and become an accomplished voice actor. He also had some great roles in different Star Trek television series, most notably as various incarnations of the villain Weyoun on Deep Space Nine.

Barbara Crampton holds her own and she had to deal with some seriously bizarre and uncomfortable situations in this movie. Props to her for that.

For many, Re-Animator is a bonafide horror classic. It’s a really good film from its era but I’m not as gung ho of a fan of it as many are. I certainly enjoy it and appreciate it but there are many more films from its time that I would put ahead of it. Still, it is effective and has had a lasting impact. It also spawned a few sequels, which I will review in the near future.

Film Review: Commando (1985)

Release Date: October 4th, 1985
Directed by: Mark L. Lester
Written by: Steven E. de Souza, Jeph Loeb, Matthew Weisman
Music by: James Horner
Cast: Arnold Schwarzenegger, Rae Dawn Chong, Alyssa Milano, Vernon Wells, James Olson, David Patrick Kelly, Bill Duke, Dan Hedaya, Bill Paxton, Drew Snyder

Silver Pictures, 20th Century Fox, 90 Minutes

Review:

“These guys eat too much red meat!” – Cindy

Commando is the quintessential 80s Schwarzenegger flick. This is the standard bearer for any motion picture featuring Arnie, where he isn’t a Terminator or a barbarian. It is straight up action with the right balance of Arnold’s style of comedic delivery. I mean, you could really even make the argument that this is a comedy – not to take away from the fact that it is balls to the wall bad ass.

Arnold Schwarzenegger plays John Matrix, a swollen and hard manly man that is a purebred killing machine. However, Matrix loves his daughter, the very young Alyssa Milano – before she was every 80s boy’s crush on the sitcom Who’s the Boss?

Matrix’s home is attacked and his daughter is kidnapped by bad men that have ties to his past. The bad men want Matrix to carry out an assassination. However, Matrix doesn’t take any shit whatsoever and he evades the bad guys and starts picking them off, one by one, in a race against time to save his daughter before the baddies discover that he didn’t carry out his mission.

What we get with this film is a big beefy charming bad ass with great one-liners and an arsenal that would make the Punisher weep in shame. In fact, just about everything in this movie explodes. Even Rae Dawn Chong, his cutesy fish out of water sidekick, gets to fire a rocket launcher a few times.

This movie also has a plethora of great actors. The evil and very homoerotic Bennett is played by Australian heavy Vernon Wells, probably most known as Wez from Mad Max 2 a.k.a. The Road Warrior and a parody of Wez in John Hughes’ Weird Science. You also have Bill Duke, who got to star alongside Schwarzenegger as Mac in Predator. Then there is the always enjoyable David Patrick Kelly, the leader of the bad guys in The Warriors and known for his time on Twin Peaks. The cast also includes Dan Hedaya, a guy who never gets enough props, and a small role by a young Bill Paxton.

Commando has just about everything you want in an 80s action flick without a lot of the stuff you don’t want. It isn’t an artistic masterpiece, per se. That is, unless you consider an intense crescendo of exploding buildings and flying bodies to be fine art: I friggin’ do. If that’s the case, this is true art in a classical sense that rivals the Sistine Chapel. Director Mark L. Lester is Michael-friggin’-angelo and Arnold is Adam reaching out to touch the finger of God.

The film is also only ninety minutes, so a bunch of boring character development and filler doesn’t get in the way of Schwarzenegger waving his peen around like a lasso trying to capture the hearts of 80s action fans.

The plot is simple, that is all you need to blow up an island fortress. Movies today try to get overly complicated and seem to have a guilty conscious about gratuitously shooting bullet holes in everything and everyone. Commando doesn’t have time for that horse shit. It throws its dick on the table and says, “Yeah, let’s fuckin’ rage!”

Commando was the perfect template for all Schwarzenegger movies going forward. Predator took it and added in a bad ass alien killer. The rest of his movies fell a bit short and tried to fill up the running time with annoying things like plot and character development.

If you watch Commando and you don’t have a fun time, we probably can’t be friends. Growing up in the 80s, this is one of the greatest things that ever happened to me that didn’t involve Harrison Ford or ninjas. It is actually a good thing that this didn’t have Harrison Ford or ninjas because it would have literally shattered the Earth’s crust with its intensity and the weight of its gargantuan gravitas.

Film Review: Pulgasari (1985)

Also known as: Bulgasari (alternate English title), Purugasari: Densetsu no daikaiju (Japan), Zombi 34: The Communist Bull-Monster (Pakistan)
Release Date: 1985 (North Korea)
Directed by: Shin Sang-ok, Chong Gon Jo
Written by: Kim Se Ryun
Music by: So Jong Gon
Cast: Chang Son Hui, Ham Gi Sop, Jong-uk Ri, Gwon Ri, Gyong-ae Yu

Korean Film Studio, 95 Minutes

Review:

A lot of people might not know this but North Korea has made some movies. They’ve made several in fact. Although, they don’t typically make it out of the country, let alone to the United States. Pulgasari might be the North Korean film with the most interesting story behind it though.

Famous South Korean director Shin Sang-ok and his wife, actress Choi Eun-hee, were kidnapped in Hong Kong by North Korean officials and brought into the country to make propaganda films for Kim Jong-il, who would later become that country’s infamous dictator.

Refusing, the couple were sent to a North Korean prison until finally caving and agreeing to make the films. They made seven movies together while in captivity. Also, Sang-ok and Eun-hee were separated in their relationship at the time of their abduction but their life in captivity reunited them romantically.

Kim Jong-il, having been a fan of Toho’s Godzilla film series, wanted to make North Korea’s kaiju epic. Thus, Pulgasari was born.

Strangely, considering the relationship between North Korea and Japan, Toho actually helped with the production in regards to special effects and bringing in some of its suit actors. The full grown Pulgasari was played by Kenpachirô Satsuma, who had played Godzilla during the Heisei era of films, as well as some of Godzilla’s foes in the Shōwa period. For the small, infantile Pulgasari, the part was given to Little Man Machan, who played Godzilla’s son Minya during the Shōwa era.

Despite its bizarre and incredible origins, as well as being produced by a country that the rest of the world views as overrun by poverty and depression, Pulgasari is fairly impressive. It is not a good movie, but all things considered, the final product is fairly decent. A lot of that credit should go to the work by Toho’s staff and the direction of Shin Sang-ok.

Pulgasari, the monster, is actually quite cool. He is some sort of reptilian bull that walks around on two legs like most kaiju. While the scenes of him being small are hokey and mostly annoying, once he becomes a giant beast, the tone shifts and the movie actually improves quite a lot.

The adult Pulgasari suit is not up to the level of the Heisei era Godzilla monsters but it would certainly fair well in the Shōwa period films. The small Pulgasari almost looks like a modified Minya suit from the late 60s and very well could be.

The action is much better than one would expect. Some of the big battles are well executed but I have to give credit to Toho’s people and Sang-ok, once again. When Pulgasari starts tearing things up though, it’s entertaining and the film is unique visually, as the focus of the kaiju’s destruction is castles in Korea during the Goryeo Dynasty. The film has a more historical flare than seeing a kaiju smash a modern city. In fact, this film has a lot more in common with Daiei’s Daimajin film series than Toho’s Godzilla pictures.

While Pulgasari is not even close to the quality of the Heisei era kaiju films of its time, it tries really hard and mostly succeeds in spite of its limitations. It is a strange movie but its backstory is even stranger. In fact, that’s a story that should be told on celluloid one day.

Film Review: The ‘Police Academy’ Film Series, Part I – The Mahoney Years (1984-1987)

As a kid, no comedies brought me as much replayable joy as the Police Academy films. Yes, they are cheesy and the humor is crude and low brow with slapstick thrown in but to a kid in the 1980s, that is what I liked. And it may have been the first film where I saw boobs.

Still to this day, I enjoy it. And even though this comedy method is generally used poorly in most modern films, it worked in these movies and for the time they were current.

This series spawned a new movie every spring from 1984 through 1989 and then gave us an unwatchable seventh film in 1994. Up until the end though, this was a great series. I’m not sure how new audiences would take to them today but from 1984 to 1989, the Police Academy franchise was adored by fans even if it was generally panned by critics.

Police Academy (1984):

Release Date: March 23rd, 1984
Directed by: Hugh Wilson
Written by: Neal Israel, Pat Proft, Hugh Wilson
Music by: Robert Folk
Cast: Steve Guttenberg, Kim Cattrall, Bubba Smith, George Gaynes, Donovan Scott, Michael Winslow, Andrew Rubin, David Graf, Bruce Mahler, Marion Ramsey, Brant von Hoffman, Scott Thompson, G.W. Bailey, Leslie Easterbrook, George R. Robertson, Debralee Scott, Doug Lennox, Georgina Spelvin

The Ladd Company, Warner Bros. Pictures, 96 Minutes

Review:

“Good speech.” – Carey Mahoney

The first film in the series introduces us to many of the characters we will see over the course of several films. Most importantly, this movie gave the world the comedic talents of Steve Guttenberg. Guttenberg’s Sgt. Carey Mahoney would be the central character of these films over the first four installments.

We also got to meet Michael Winslow’s Larvell Jones, Bubba Smith’s Moses Hightower, David Graf’s Eugene Tackleberry, Leslie Easterbrook’s Sgt. Callahan, Marion Ramsey’s Sgt. Hooks, G.W. Bailey’s Lt. Harris and George Gaynes’ iconic Commandant Eric Lassard. Other major characters would come in other films but these characters lasted over most of the series and each one of them are memorable and lovable in their own way. The Police Academy series is an example of large ensemble comedies done right.

This film in the series had the most overall narrative and is considered by most to be the best film. Later films in the series were full of long-running jokes chaining back to this film, as well as being structured by a series of gags and funny bits that were only lightly threaded together by an actual plot. This one was an adult comedy, full of a large cast of kooky characters – in many ways it was similar in style to Slap Shot, Caddyshack and in some regards, MASH. The great use of this formula in Police Academy also inspired a slew of knock-off films throughout the mid 80s.

The plot is about a bunch of screw ups who join the Police Academy after the mayor declares that anyone can join the academy and be given a fair shot. It concludes with a sequence that sees these screw ups go into the field with minimal training and finding themselves in the middle of a downtown riot.

As stupid and absurd as this film can be, it does create a solid sense of camaraderie among the characters. You care about them, their relationships with one another and the crazy situations they find themselves in. This is why this movie became a hit and why this series lasted for seven pictures. You wanted to see more of these people and their antics.

Police Academy was a huge hit at the time and deservedly so. Each subsequent film dropped of a bit in success but they all still did pretty well through the 80s.

Police Academy 2: Their First Assignment (1985):

Release Date: March 29th, 1985
Directed by: Jerry Paris
Written by: Barry W. Blaustein, David Sheffield
Music by: Robert Folk
Cast: Steve Guttenberg, Bubba Smith, David Graf, Michael Winslow, Bruce Mahler, Colleen Camp, Art Metrano, Marion Ramsey, Howard Hesseman, George Gaynes, Lance Kinsey, George R. Robertson, Tim Kazurinsky, Bobcat Goldthwait, Rich Hall

The Ladd Company, Warner Bros. Pictures, 87 Minutes

Review:

“Don’t make me flare my nostrils!” – Zed

The first sequel quickly followed the original film.

In this one, we see our beloved officers take their first job at a precinct ran by Howard Hesseman’s Pete Lassard, younger brother to Commandant Lassard. Also, Lt. Harris is replaced as the main antagonist by Art Metrano’s Lt. Mauser. This creates a lot of debate between Police Academy fans as to who was the better series antagonist: Harris or Mauser. I will say that they are both awesome.

We are also introduced to Lance Kinsey’s Lt. Proctor, who went on to become one of the funniest and most iconic idiots in cinema history. This is also the first of three films featuring Bobcat Goldthwait as Zed and Tim Kazurinsky as Sweetchuck. Zed is the big villain of the film and he is fantastic. He is also Goldthwait’s most recognizable character and plays much better as a goofy bad guy in this film than as a cop in the later ones.

This movie is still a great continuation of the Police Academy series and expands on the characters enough to where you enjoy seeing them growing up and taking on new roles.

Also, the big finale at the abandoned zoo was really cool. It was an awesome location for the gang’s hideout.

Police Academy 3: Back In Training (1986):

Release Date: March 21st, 1986
Directed by: Jerry Paris
Written by: Gene Quintano
Music by: Robert Folk
Cast: Steve Guttenberg, Bubba Smith, David Graf, Michael Winslow, Marion Ramsey, Leslie Easterbrook, Art Metrano, Tim Kazurinsky, Bobcat Goldthwait, George Gaynes, Bruce Mahler, Lance Kinsey, Scott Thompson, Brant von Hoffman, Debralee Scott, Brian Tochi, George R. Robertson, Ed Nelson

Warner Bros. Pictures, 83 Minutes

Review:

“Mahoney must think he’s as dumb as we are.” – Captain Proctor

The third film rehashes the formula of the first Police Academy but doesn’t do it as well.

Here we have a new class of cadets joining the academy but now the cadets from the original film are there to train them. It is a passing of the torch to a new generation but the new generation didn’t give us many new characters to sink our teeth into. Zed and Sweetchuck return and become cops in this one but they are the brightest spot by far of the new cast of recruits.

The film is still funny, it employs a lot of the same gags and it ends with a pretty decent water action sequence for a film that is a low budget 80s comedy.

The main plot focuses on two academies going head-to-head in a competition, as the worst of the two is going to be shutdown due to budget cuts. The evil academy is ran by Mauser from the previous film. Mauser and Proctor, when together, are comedy gold.

Police Academy 4: Citizens On Patrol (1987):

Release Date: April 3rd, 1987
Directed by: Jim Drake
Written by: Gene Quintano
Music by: Robert Folk
Cast: Steve Guttenberg, Bubba Smith, David Graf, Michael Winslow, Marion Ramsey, Leslie Easterbrook, Sharon Stone, Colleen Camp, Tim Kazurinsky, Bobcat Goldthwait, George Gaynes, G.W. Bailey, Lance Kinsey, George R. Robertson, Brian Tochi, Scott Thompson, Billie Bird, David Spade, Brian Backer, Tab Thacker, Corinne Bohrer, Tony Hawk

Warner Bros. Pictures, 88 Minutes

Review:

“Don’t touch those! Don’t you ever touch my balls without asking!” – Captain Harris

In an effort to not completely redo the plots of the first and third movie, this film sees Commandant Lassard start a new program that allows citizens to train at the academy with real police officers in an effort to build up a better relationship with the community. Essentially, it is a rehash of the first and third films but the little twist makes it a bit more interesting.

Billie Bird steals the show here as the elderly Mrs. Feldman. She is a tough as nails, take no shit, bad ass old lady that is the perfect compliment to the big gun-toting maniac that is Sgt. Tackleberry.

Sharon Stone is in this film too but you’ll barely notice. You can also enjoy the small roles played by a young David Spade, Brian Backer and a “blink and you’ll miss it” cameo by Tony Hawk.

Also, due to a bad back injury that Art Metrano suffered, Mauser was out of the picture and G.W. Bailey’s Capt. Harris was brought back as the antagonist of the series. Harris and Proctor together were even better than Mauser and Proctor in the two previous films.

The gags are great, the pranks are awesome and this film embodies the spirit of the installments before it. Unfortunately, it is the last film to star Steve Guttenberg and a drop off in quality over the course of the next three films was a result. We also lost Goldthwait and Kazurinsky after this chapter in the series and they were definitely missed.

The highlight of this movie is the big action sequence at the end, which featured biplanes, hot air balloons and a whole lot of mayhem.