For a 90 minute movie, there sure is hell a lot of plot. We watch as a variety of cases converge at the end as Boston's *cough* finest *cough* set out to make arrests regarding two arsonists who set fire to bums, a trio behind a series of bombings which are killing city public figures, and a duo who plan to rob a liquor store. The punchline is how, not through "solid police work", the cases are solved basically because those who commit the crimes fall right into their laps.
This cop comedy doesn't exactly paint a flattering view of a specific precinct whose detectives seem unable to catch a serial bomber, who leaves notes demanding ransom money in exchange for the lives of those targeted. We also see how busy the precinct can be during serious renovations, as the desks are cluttered, phones are ringing, people pass to and fro, and two goofy painters cause mischief as they often get in the way of the daily routines, causing the officers unneeded pains. Good cast has Burt Reynolds, Tom Skerritt, Jack Weston, James McEachin, and Racquel Welch as detectives assigned to various cases, often assisting each other at times. I was rather surprised to see Yul Brynner show up as the infamous "deaf man with the hearing aid", the mastermind behind the bombings.
For some reason, Fuzz just didn't satisfy me. It seems that the filmmakers just had too much damn plot and not enough time to dedicate to the endless stream of characters and stories. Trying to provide equal screen time to the actors involved seemed quite daunting. It's a superb cast and if they were given a central case, the mad bombings, maybe this could've been a little more cohesive. The preposterous finale where our heroes get the bad guys gift-wrapped to them must've been quite amusing on paper, but I was shaking my head at the mere absurdity of it..it's quite a coincidence(s)that all the cases burdening the Boston precinct's cops would culminate in one general area in the city, allowing them to close chapters they couldn't do on their own. The cops in the film have their share of bumbling errors, often muscling the wrong people as Brynner constantly fools them. These cops, however, have a camaraderie that's admirable, clowning around with each other to keep the pressures and unpleasantness of the job from getting to them. Welch is almost raped by the man she's assigned to capture. Reynolds is almost burned alive by two teenagers who he's horrified to discover are the serial arsonists. Skerritt is often arresting people who have little to do with his desired suspects. McEachin actually apprehends the painters attempting to steal precinct equipment while in surveillance. We see that police work isn't always cut and dry, that the daily grinds associated with the duties of detectives often result in mistakes, bad judgments, blunders, and situations which they unfortunately inherit while trying to solve cases that are certainly difficult and tiresome.
Reynolds works the usual charm and Skerritt is breezy. Chubby Weston is jolly fun as Reynolds oft-humiliated partner falling prey to one problem after another while moving from case to case. Welch, with a rather underwritten role, doesn't have much to work with, probably hired for her sexiness. Brynner is suave and cool, despite being a diabolical killer. I do think where the film does succeed is in capturing the madcap mayhem of a busy precinct, and there's nothing quite as effective as seeing the authentic Boston locations..that's what made the 70s so good, the abilities they once had to capture the atmosphere of the city streets and the array of eccentric people who live within it's confines.
This cop comedy doesn't exactly paint a flattering view of a specific precinct whose detectives seem unable to catch a serial bomber, who leaves notes demanding ransom money in exchange for the lives of those targeted. We also see how busy the precinct can be during serious renovations, as the desks are cluttered, phones are ringing, people pass to and fro, and two goofy painters cause mischief as they often get in the way of the daily routines, causing the officers unneeded pains. Good cast has Burt Reynolds, Tom Skerritt, Jack Weston, James McEachin, and Racquel Welch as detectives assigned to various cases, often assisting each other at times. I was rather surprised to see Yul Brynner show up as the infamous "deaf man with the hearing aid", the mastermind behind the bombings.
For some reason, Fuzz just didn't satisfy me. It seems that the filmmakers just had too much damn plot and not enough time to dedicate to the endless stream of characters and stories. Trying to provide equal screen time to the actors involved seemed quite daunting. It's a superb cast and if they were given a central case, the mad bombings, maybe this could've been a little more cohesive. The preposterous finale where our heroes get the bad guys gift-wrapped to them must've been quite amusing on paper, but I was shaking my head at the mere absurdity of it..it's quite a coincidence(s)that all the cases burdening the Boston precinct's cops would culminate in one general area in the city, allowing them to close chapters they couldn't do on their own. The cops in the film have their share of bumbling errors, often muscling the wrong people as Brynner constantly fools them. These cops, however, have a camaraderie that's admirable, clowning around with each other to keep the pressures and unpleasantness of the job from getting to them. Welch is almost raped by the man she's assigned to capture. Reynolds is almost burned alive by two teenagers who he's horrified to discover are the serial arsonists. Skerritt is often arresting people who have little to do with his desired suspects. McEachin actually apprehends the painters attempting to steal precinct equipment while in surveillance. We see that police work isn't always cut and dry, that the daily grinds associated with the duties of detectives often result in mistakes, bad judgments, blunders, and situations which they unfortunately inherit while trying to solve cases that are certainly difficult and tiresome.
Reynolds works the usual charm and Skerritt is breezy. Chubby Weston is jolly fun as Reynolds oft-humiliated partner falling prey to one problem after another while moving from case to case. Welch, with a rather underwritten role, doesn't have much to work with, probably hired for her sexiness. Brynner is suave and cool, despite being a diabolical killer. I do think where the film does succeed is in capturing the madcap mayhem of a busy precinct, and there's nothing quite as effective as seeing the authentic Boston locations..that's what made the 70s so good, the abilities they once had to capture the atmosphere of the city streets and the array of eccentric people who live within it's confines.