Author: Stan

Today’s quick review: Police Academy 4: Citizens on Patrol. As part of a new initiative dreamed up by Commandant Lassard (George Gaynes), Sgt. Carey Mahoney (Steve Guttenberg) and his fellow officers recruit ordinary civilians to help patrol their neighborhoods. But trouble strikes the program when Captain Harris (G.W. Bailey), an old rival of Mahoney’s, is put in charge of the recruits’ training and makes it his mission to ensure they fail.

Police Academy 4: Citizens on Patrol is a police comedy with an ensemble cast. Citizens on Patrol continues in the same tradition as the previous Police Academy films, offering up a colorful cast, silly hijinks, and a low-stakes plot. However, with Citizens on Patrol, the series begins to hit diminishing returns. The heart and creativity of the original Police Academy are absent, leaving the movie to coast on repetitive jokes and a token plot.

Citizens on Patrol misses the mark with most of its humor. Many of the jokes are recycled from previous entries in the series, exploiting the same one-note characters as before. The new additions to the franchise are not very exciting either. None of the new recruits are memorable, and the handful of new jokes are consistently low-effort. The movie also makes no attempt to invest in its story, relying entirely on its thinly connected gags.

Still, Citizens on Patrol will hold some modest value for fans of the series. The cast is too large and unwieldy to use effectively, but the movie still makes time for Moses Hightower (Bubba Smith), Larvell Jones (Michael Winslow), Debbie Callahan (Leslie Easterbrook), Zed (Bobcat Goldthwait), and many of the other offbeat characters the series has picked up over the years. Their performances can’t carry the movie on their own, but they do help out.

Police Academy 4: Citizens on Patrol will only appeal to viewers who are firmly committed to the Police Academy formula. Those who enjoy the characters for their own sakes, don’t mind repetition, and don’t need much in the way of plot will find Citizens on Patrol to be a fun, quick comedy. Those hoping for fresh humor, a clever script, or meaningful character arcs should steer well clear. Most viewers would be better off skipping it.

For a cleaner take on the same formula, try the original Police Academy. For another ridiculous police comedy, try The Naked Gun. For a military comedy in a similar vein, try Stripes.

5.0 out of 10 on IMDB. I give it the same for a good legacy cast who don’t have much to work with.

“Can you imagine where you’d be in your career if you hadn’t shot Jeter?” —Allen Gamble

Today’s quick review: The Other Guys. Allen Gamble (Will Ferrell) and Terry Hoitz (Mark Wahlberg) are two of New York’s most hated cops. But the two detectives get their shot at glory when David Ershon (Steve Coogan), a shady investor who manages billions of dollars, is kidnapped right in front of them. To figure out who took Ershon and why, Gamble and Hoitz will have to put aside their differences and become the heroes they always wanted to be.

The Other Guys is a crime comedy that parodies the gung ho attitude of other cop movies. Will Ferrell stars as Allen Gamble, a police accountant whose quiet, helpful personality earns him the contempt of his macho colleagues. Mark Wahlberg plays opposite him as Terry Hoitz, Allen’s reluctant partner who wants nothing more than to move past a career-damaging blunder. Their uniue skills give them a shot at cracking a case no one else will even take.

The Other Guys is spot-on with some of its humor. The action genre is a broad target to hit, and all the movie has to do is crank up the characters’ attitudes just a little bit to have all the jokes it needs. Allen and Terry live in a world where every cop wants to be a hero, with all the chaos and bluster that entails. The shots at the genre are offset somewhat by jokes that embrace its sense of excess, giving action fans something to like.

The Other Guys also makes good use of its leads. Allen and Terry take the classic buddy cop setup and run with it in a very specific direction. They are both ridiculous in complementary ways, letting the movie shift the focus of its humor as needed. Neither character is as easy to like as in movies with less of a satirical edge, but their characterization is surprisingly consistent throughout the film, showing more care than the average spoof.

Still, the balance of the movie may feel off for some viewers. The Other Guys skirts the line between affectionate parody and vicious takedown of the action genre, which may make it unappealing to action fans depending on how they read it. The humor can be coarse in places, and Will Ferrell and Mark Wahlberg are both strong flavors to get used to. Ultimately, The Other Guys has a clear vision that may not be what some viewers are looking for.

The Other Guys is a solid pick for anyone who wants to see the cop formula turned on its head. The movie makes a few risky decisions that will narrow its appeal, but strong comedic foundations and a fruitful setup make it worth a shot for anyone curious. For an even more outlandish parody of the genre, try Last Action Hero, Loaded Weapon, or The Naked Gun. For a more cerebral, noir-style buddy comedy, try The Nice Guys.

6.6 out of 10 on IMDB. I give it a 7.0 for solid comedy that largely hits its targets.

Today’s quick review: Cop Out. Detectives Jimmy Monroe (Bruce Willis) and Paul Hodges (Tracy Morgan) have been partners for nine years. After their latest blunder gets them suspended from the force without pay, Jimmy is forced to sell a rare baseball card to pay for his daughter’s wedding. But when the card winds up in the hands of Poh Boy (Guillermo Diaz), an up-and-coming gang leader, Jimmy and Paul must go to great lengths to get it back.

Cop Out is a crime comedy starring Bruce Willis and Tracy Morgan as two suspended cops who get caught in the middle of a drug dealer’s big move. The two make for an effective comedy duo. Jimmy and Paul are goofy in complementary ways, while their shared history makes them competent crime-fighters when the chips are down. Cop Out doesn’t offer anything too special with its plot or characters, but its fun humor and good leads are enough to carry it.

Cop Out earns points with its comedy. Some of the jokes sail wide of the mark, but the majority of them are funny, reasonably clever, and a good fit for the characters. In terms of story, Cop Out lands squarely in the middle of the comedy genre, with just enough complexity to keep things from getting stale. The same goes for its characters. Jimmy and Paul are just fleshed out enough to make them enjoyable to watch without leaving a lasting impression.

Cop Out is a solid pick for anyone in the mood for a low-risk comedy. Its jokes aren’t as spectacular as the greats of the genre, but they are likely to entertain a broad audience. They are also supported by a decent story and two leads with good chemistry, even if there are a few rough edges. Cop Out is a movie that will please those looking to be entertained by it and disappoint those looking to be impressed. Give it a shot when the mood is right.

For another buddy cop comedy in a similar vein, try Ride Along. For an action movie with similar character dynamics, try the Bad Boys or Lethal Weapon series. For a crime comedy with a darker sense of humor and more distinctive characters, try War on Everyone. For a black comedy with a much more elaborate plot and a sharper pair of leads, try The Nice Guys.

5.6 out of 10 on IMDB. I give it a 6.5 for fun, if not outstanding, humor.

Today’s quick review: Another Stakeout. After a blunder on the job, Seattle police officers Chris Lecce (Richard Dreyfuss) and Bill Reimers (Emilio Estevez) are assigned to work with Gina Garrett (Rosie O’Donnell), the assistant district attorney. The three of them must put up with boredom and each other as they stake out the secluded island where Lu Delano (Cathy Moriarty), an important federal witness, may have fled after an attempt on her life.

Another Stakeout is a crime comedy about two police officers and a lawyer tasked with keeping a frightened witness safe from the hitman (Miguel Ferrer) trying to kill her. Another Stakeout’s story has a dramatic setup and some actual danger for its characters, but the personality quirks of Chris, Bill, and Gina fall squarely in the realm of comedy. A couple of good performances and an organic script make Another Stakeout a fun watch.

Another Stakeout’s best feature is the comedy duo of Richard Dreyfuss and Emilio Estevez. The two settle into a comfortable rhythm that bespeaks their characters’ long friendship. Their light-hearted jabs at one another, willingness to roll with the punches, and general sense of playfulness give the movie a ready source of humor. Rosie O’Donnell is no slouch herself, and together the three leads give Another Stakeout a strong comedic core.

Another Stakeout is on somewhat shakier ground with its plot. The setup works well on paper, but in practice, the characters spend too much time with nothing to do. The stakeout eats up most of the film, during which time the lead trio’s main occupation is trying to maintain their cover in front of the neighbors (Dennis Farina, Marcia Strassman). On the plus side, the movie has enough humor to sustain the audience through this dry spell.

Another Stakeout is a decent pick for viewers in the mood for something light with just a touch of danger. The movie does rely heavily on the friendship between Chris and Bill to make its humor work, meaning that a viewer who dislikes their jokes will find that it has little to offer. But for the right viewer, Another Stakeout manages something unusual: silly comedy that still feels natural. Give it a shot if you’re curious.

For another outing with the same characters that has a better balance of story and humor, try the original Stakeout.

5.6 out of 10 on IMDB. I give it a 6.5 for two good leads and a decent plot.

Today’s quick review: Stakeout. Detectives Chris Lecce (Richard Dreyfuss) and Bill Reimers (Emilio Estevez) have a new assignment: staking out the home of Maria McGuire (Madeleine Stowe), the ex-girlfriend of escaped prisoner Richard “Stick” Montgomery (Aidan Quinn). As the nights drag on with no sign of Montgomery, Chris falls in love with Maria and decides to risk the assignment and his career by dating her under an assumed identity.

Stakeout is a crime comedy about a police stakeout complicated by the blooming relationship between one of the detectives and the target. The movie mixes a reasonably serious plot with low-stakes hijinks as Chris and Bill try to while away the time during their assignment. Natural chemistry between the two leads and a well-developed story make Stakeout a balanced and rewarding pick. However, there are other comedies with more to offer.

Stakeout does a good job of balancing humor and plot. Richard Dreyfuss and Emilio Estevez are a natural fit for one another, giving Chris and Bill’s interactions a friendly quality that makes them fun to watch. Their banter, practical jokes, and fooling around on the job give the movie a steady source of comedy. At the same time, their actions do have consequences, and their skills as police officers are soon put to the test.

Still, Stakeout is a modest movie that never tries to reach beyond its limits. The jokes are fun and organic, but rely heavily on the audience liking the characters. The romance is played well, but again, it’s nothing groundbreaking. Ultimately, Stakeout is a worthwhile pick that will earn some laughs but won’t leave too much of a lasting impression. Give it a shot if you’re in the mood for popcorn.

For more of the same, try the sequel: Another Stakeout. For a more dramatic movie about unintended love in a criminal context, try The Town. For a more raucous comedy about a cop with a sense of humor, try Beverly Hills Cop.

6.6 out of 10 on IMDB. I give it a 6.5 to 7.0 for good comedic fundamentals, including a well-matched lead duo.

Today’s quick review: Taking Care of Business. Jimmy Dworski (Jim Belushi), a popular inmate and a die-hard Cubs fan, breaks out of prison to see his team play in the World Series. Through a twist of fate, he finds a notebook belonging to Spencer Barnes (Charles Grodin), an overworked ad executive, and uses it to take his identity for a weekend of luxurious fun. While Jimmy lives it up, Spencer tries in vain to get the notebook and his life back.

Taking Care of Business is a comedy about an escaped prisoner who steps into the shoes of a successful businessman. Jim Belushi stars as Jimmy Dworski, a charismatic convict whose easy-going personality makes a mess of Spencer’s careful plans. Charles Grodin plays opposite him as Spencer, a high-strung businessman who has let his job take him away from his wife Elizabeth (Veronica Hamel). What follows is a basic but enjoyable comedy about trading places.

The best feature of the movie is its main character. Jimmy is a man of simple tastes. His friendly attitude and wholesome goals make him easy to root for, even if he falls short of the best fun-loving scoundrels the comedy genre has to offer. Taking Care of Business never finds anything spectacular to do with Jimmy, but his attempts to wring as much enjoyment as possible out of Spencer’s life are enough to make it a pleasant comedy.

The broad strokes of the story are predictable: Spencer is forced to re-examine his priorities, and Jimmy has to think on his feet to keep his actions from catching up with him. Even so, the execution is clean, leading to a fairly satisfying payoff. The same goes for the movie’s sense of humor. None of the individual jokes are all that strong, but their consistency, coupled with Jimmy Dworski’s character, manage to carry the film.

Taking Care of Business won’t impress viewers who are looking for an innovative, sharply written comedy, but it will entertain anyone looking for some light humor with a decent story attached to it. Taking Care of Business sticks to the basics, but it executes them well, making it a modest but enjoyable pick. Steer clear if you’re looking for something with bigger laughs or a more memorable story.

For another comedy about a drastic change in station, try Trading Places, Luck-Key, or The Family Man. For a more iconic comedy with a similar premise, try Ferris Bueller’s Day Off. For a more dramatic movie about a prisoner’s rebellion against an unjust warden, try The Last Castle or The Shawshank Redemption.

6.4 out of 10 on IMDB. I give it a 6.5 for simple but satisfying comedy.

Today’s quick review: Father Hood. Jack Charles (Patrick Swayze) is on his way to jail, but first he has one last score to make: a briefcase worth a quarter of a million dollars, just waiting for him to steal it. Stopping to rescue his children, Kelly (Sabrina Lloyd) and Eddie (Brian Bonsall), from an abusive foster care facility, Jack travels across the country in pursuit of his fortune and in the process gets to know his kids for the first time.

Father Hood is a crime comedy about a reckless criminal and his estranged children. Patrick Swayze stars as Jack Charles, a career criminal with selfish motives and no interest in his children, at least until circumstances force them back into his life. Father Hood aims to be a family comedy with some heart, focusing on Jack’s evolving relationship with Kelly and Eddie. However, shaky character work and a thin plot keep it from achieving its goal.

Father Hood’s main issue is that it doesn’t strike the right balance with its main character. Jack needs to split the difference between roguish and redeemable to make the story work, but the movie starts him off too selfish and irresponsible for the audience to really invest in. Patrick Swayze is a good pick for the role and puts Jack’s character in the right ballpark, but he spends most of the movie showing no interest in his children at all.

As such, Father Hood is missing one of the central pillars needed to support its story. Jack does get the chance to connect with his kids, but it comes too late to carry the viewer through the early parts of the film. Father Hood should be the charming tale of a self-centered man gradually learning to love his children; instead it’s an argument-filled road trip that only tacks on its character development near the end.

This isn’t to say that Father Hood is without its strengths, but they tend to be overshadowed by where it falls short. Jack, Kelly, and Eddie have the makings of a good family dynamic, even if Jack is a little too dismissive to make it click. The foster care portion of the plot is a fine core to build a story around, but the movie doesn’t handle it gracefully. Generally, the movie has the ingredients it needs but doesn’t combine them in the right ways.

Father Hood is a movie with a reasonable endpoint in mind, but it lacks the skill to get there. The movie has neither the main character nor the plot to support the kind of story it wants to tell. Without this backbone in place, the rest of the movie falls flat. There is still mild enjoyment to be had as Jack tries to brush off the cops and his children, but most viewers will find that they can do better without too much effort.

For a more cleanly executed movie about a father bonding with his son over the course of a cross-country roadtrip, try Over the Top. For a more dramatic story about a man who learns to put others before himself, try Rain Man. For a comedy about a crook who learns to get along with the child in his care, try Paper Moon.

4.9 out of 10 on IMDB. I give it a 5.5 for a story that falls short of its modest potential.

Today’s quick review: Disorganized Crime. Four criminals (Fred Gwynne, Ruben Blades, William Russ, and Lou Diamond Phillips) show up in a small Montana town only to find that Frank Salazar (Corbin Bersen), the man who called them all there, has gone missing. While the crew tries to piece together the bank robbery Frank had planned for them, Frank tries to escape the custody of the two police officers (Ed O’Neill and Daniel Roebuck) who arrested him.

Disorganized Crime is a crime comedy about a bank robbery that goes off the rails before it even begins. Four criminals must cope with the disappearance of their leader, figure out how to trust one another, and overcome a series of unlucky breaks to pull off a six-figure heist. In spite of its small-town setting, Disorganized Crime has an elaborate plot that gives its characters plenty to do. Even so, the movie’s sense of humor only takes it so far.

Disorganized Crime strikes the right balance with its plot. Bad luck dogs the characters throughout the movie, making a mess of even their most sensible plans. The chaos keeps the plot fresh and interesting, with none of the complacency that afflicts other low-stakes heist films. At the same time, the characters never lose their sense of agency. Seeing how they react and adapt to the setbacks along the way is Disorganized Crime’s best aspect.

However, Disorganized Crime does have its limitations. The movie never makes more than a few stabs at overt humor, instead relying on its odd situations and the frustration of its characters to carry the comedy. As a result, there are no individual jokes that stand out from the rest. The same goes for its story. Disorganized Crime has a flat structure that makes its twists unpredictable but also limits the movie’s ability to build to its finale.

Disorganized Crime is a solid heist movie that balances an engaging plot with a light tone. The movie does not manage its tension as well as it could have, and other comedies outclass it in terms of raw humor, but what’s there is enough to make Disorganized Crime a fun time. Viewers who enjoy seeeing a plan come together may want to give it a shot. Those hoping for something with either bigger laughs or higher stakes will want to steer clear.

For a crime movie with a similar setup and somewhat more drama, try Thunderbolt and Lightfoot. For a black comedy about a bank robbery that spirals out of control, try Flypaper. For a much darker, more violent movie about criminals forced to trust one another, try Reservoir Dogs.

6.4 out of 10 on IMDB. I give it a 6.5 for a solid script that’s missing the extra spark it needs to go farther.

Today’s quick review: Big Trouble. Eliot Arnold (Tim Allen), a divorced ad executive, gets caught up in a bizarre series of events when his son Matt (Ben Foster) plays a prank on Jenny (Zooey Deschanel), the stepdaughter of Miami arms dealer Arthur Herk (Stanley Tucci). As Eliot hits it off with Arthur’s wife Anna (Rene Russo), Arthur resorts to desperate measures to escape the violent consequences of stealing from his employers.

Big Trouble is a crime comedy with a sprawling plot and an ensemble cast. Big Trouble starts innocuously enough, following Eliot Arnold as he tries to patch things up with his teenage son. But within minutes, the situation has turned into a tangled, comedic messs involving an easygoing drifter, a pair of assassins, a suitcase bomb, and the Miami police. The movie’s creative writing and cast of familiar faces aren’t enough to make its comedy click.

Big Trouble works hard for a mediocre payoff. The plot is a jumble of mistakes, accidents, and coincidences where no one except the audience knows just what is going on. There are well over a dozen characters to keep track of, not to mention half a dozen plot threads that all interact with one another. The chaos should be the recipe for a wild comedy, but Big Trouble never figures out the right way to cash in on all of its hard work.

The result is a series of madcap situations that have lots going on, very little of it consequential. The large cast makes it hard to invest in any of the characters, while the plot is more convoluted than it needs to be. But to its credit, Big Trouble does a fine job with its moment-to-moment humor. The characters are colorful, the script is creative, and the movie can be fairly enjoyable when it’s just having fun and not building to a payoff.

The other point in Big Trouble’s favor is its enormous cast, which includes Tim Allen, Rene Russo, Stanley Tucci, Janeane Garofalo, Patrick Warburton, Zooey Deschanel, Dennis Farina, Johnny Knoxville, Andy Richter, Sofia Vergara, and Tom Sizemore. Not all of the actors are used to their full potential, but each one gets a couple of good moments, and their performances are the most reliable aspect of the film.

Big Trouble’s flaws keep it from standing with the greats of the comedy genre, but it has enough going on to be an amusing watch for the right viewer. Those in the mood for something short, light, and colorful will get the most to it, thanks to its solid cast and bizarre situations. Those hoping for tight writing and a carefully orchestrated comedic payoff will want to keep looking.

For a sharper crime comedy with a similarly convoluted plot, try Snatch, The Gentlemen, or Lock, Stock, and Two Smoking Barrels. For a ridiculous comedy that makes more out of fewer ingredients, try A Fish Called Wanda. For a crime comedy that has some of the same character dynamics, try Flypaper. For a crime drama with black comedy elements and a similar plot, try The Way of the Gun.

6.5 out of 10 on IMDB. I give it a 6.0 to 6.5 for loose but enjoyable comedy.

Today’s quick review: The Crew. Bobby Bartellemeo (Richard Dreyfuss), Joey “Bats” Pistella (Burt Reynolds), Tony “Mouth” Donato (Seymour Cassel), and Mike “The Brick” Donatelli (Dan Hedaya) used to be respected gangsters, but now they are only retirees living in Miami Beach. Itching for a taste of their old lifestyle, they decide to stage a fake murder to drive down their rent but accidentally run afoul of drug kingpin Raul Ventana (Miguel Sandoval).

The Crew is a crime comedy about four aging gangsters who get themselves in hot water when they pretend to kill the wrong person. What starts as an easy way to recapture some of their past glory quickly spirals out of control. The Crew takes a look at the pains of perks of aging through the eyes of Bobby and his friends. The movie features a nicely convoluted plot and a light tone, but its jokes and acting leave something to be desired.

The Crew fares the best with its story. The premise gives the movie a fair amount of material to work with, and the movie has a knack for coming up with unexpected consequences for its characters’ actions. The result is a caper-like plot that expands in scope as it goes along, eventually involving an untrustworthy stripper (Jennifer Tilly), her rich stepmother (Lainie Kazan), and a pair of Miami detectives (Carrie Anne-Moss and Jeremy Piven).

However, The Crew doesn’t have the comedic skill to capitalize on its creativity. The humor never quite hits its stride, relying on the relatively tame antics of Bobby and his friends for most of its laughs. The situations it comes up with are funny enough on their own to pick up some of the slack, but they can only take the movie so far. Likewise, the characters bring some energy to the film, but they aren’t the dynamos The Crew needs them to be.

The Crew is worth a watch if you’re in the mood for a caper and don’t care too much about polish. The movie’s clever ideas give it some potential, but it’s missing the tight script, skilled performances, and measured presentation style needed to make the most of what it’s got. As it is, The Crew is a fine little comedy for those with time to kill, but viewers looking for bigger laughs should look elsewhere.

For a similar comedy about aging criminals, try Stand Up Guys, The Maiden Heist, or Going in Style. For a more serious peek inside the mafia lifestyle, try Casino, Goodfellas, or Donnie Brasco. For a light crime comedy with more character, try The Whole Nine Yards.

5.6 out of 10 on IMDB. I give it a 6.0 for a decent plot and middling execution.