SHORT TAKES
SUPER COPS (Universal):: In the old American custom of milking a gimmick we bring you Super Cops. Since Entertainmentland hasn’t gotten enough mileage out of the cop craze, they’re trying to squeeze out the last box office buck by presenting yet another slice of police life.
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SHORT TAKES
SUPER COPS (Universal):: In the old American custom of milking a gimmick we bring you Super Cops. Since Entertainmentland hasn’t gotten enough mileage out of the cop craze, they’re trying to squeeze out the last box office buck by presenting yet another slice of police life. Not the corrupt cop oh the take, like the early fuzz tone flicks, but phase two — the good guy. In the temporal tradition of Serpico, Busting and The Laughing Policeman, you have Super Cops. Based on the real life story of two rookies who “wrote their own rules” on how to turn the Gotham ghetto’s crime wave into a mere tremor — all on their off-duty hours. You know, just like Batman and Robin, as they were playfully dubbed.TOW! The dynamic duo posing as grease monkeys bust eight iunkies at Coney Island. CRASH! Those raucous rookies hurl themselves through plate glass pursuing two shady Cubans. GUFFAW! At the escapades of these comical copsters who bring back a little of the laughs you’ve missed since Car 54, Where Are You? went off the tube.
Jaan Uhelszki
SWEET SUZY (Aquarius Releasing):: Russy Meyer strides forward, unblushing, with a completely excessive stewpot of violence, racial-religio-sociology, sex and revolution that goes beyond his Beyond The Valley of the Dolls in all but the laughs department. Russ fumbles here by taking himself too seriously. Which is not to infer you won’t enjoy the abundant slashings, stabbings, whippings and simple sex orifice exercisings provided at regularly timed intervals. But it’s hard to laugh when Russ seems to be waving some heavily moralistic racial message at us, even if he harcjly decends from the level of the totally ridiculous for even one minute. Just remember to check your standards of good taste at the ticket window. But whatever you might think of his polemics, it must be realized that the Meyer mise-en-scene of the restless, obsessively fast cut, is Eisenstein’s theory of dialectical montage extended to the Nth degree, and the cinematic equivalent of the emotional instability and moral confusion of our time. Really.
Brian Zabawski
