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Amir Shervan has made two instant 80s trash classic - SAMURAI COP and this one. There is so much funny stuff in here. Like when Hollywood COP Turk confronts a husband holding a rapist hostage and says, "Look, I know the guy just f**ked your wife..." In addition, there are some scary looking stunts like when a guy falls off a roof onto a bail of hay and when another guy falls out of a car and almost gets run over by the tire. There is also one of the funniest dialog scenes ever when the father goes to rescue his son. He son, who is being held hostage, doesn't want to leave because dad didn't show up for Christmas. The father deftly explains that he left the kid and his mom all away by saying he had blood poisoning and is dying (in the scene previous to this he was caught cavorting with topless hussies). Classic!
This is definitely the best movie ever made. This movie has really everything to be a classic. A cheap c actor, porn-movie sound, a story line that even my 5 year old niece would be very ashamed if she made that story. It's really so bad, that it's at the same time so funny. You will really enjoy this. This is entertainment!!!
*** This review may contain spoilers ***
John "Turky" Turquoise III (Goss) is the titular Hollywood cop, and you
better believe that a. He's on the edge and b. he plays by his own
rules. When Rebecca (Julie Schoenhofer), a woman from a rural area of
California, finds out her son Stevie (Brandon Angle) has been kidnapped
by gangsters because her former husband Joe Fresno has made off with
six million dollars and the baddies want to exchange the kid for the
loot, she comes to "the big city", Hollywood, California, to right the
situation. She quickly runs into Turky (why wouldn't he be named
"Turky"?) and he agrees to help her. Teaming up with his partner Jaguar
(Kilpatrick), the duo not only have to face angry chief Bonano
(Mitchell) and the questionable fellow cop Lt. Maxwell (Donahue), but
they also must do battle with crime lord Feliciano (Mitchum) and his
army of goons. Will Turky save the boy and woo his comely mother...all
in time for Thanksgiving? Find out today! God bless Amir Shervan. We
should all pause just one minute in our busy lives to honor this great
man. He's an unheralded cinematic genius that has enriched all our
lives with awesome entertainment. Both this and Samurai Cop are
must-see, one-of-a-kind films. There are many similarities plotwise
between his two "Cop" movies...so many that it would be pointless to
run them all down, but Samurai Cop (1989) is kind of a
remake/re-imagining of Hollywood Cop, and we should all be glad Shervan
took this route. If he felt this formula had some more juice, we
applaud him for trying it again. We're just happy he continued/was
allowed to make more movies after Hollywood Cop.
Shervan assembled a killer cast this time around to help execute his singular filmmaking vision. David Goss, who has a criminally small filmography, but also appeared in Armed Response (1986), plays the main hero we all want on our side. If only his Samurai Cop counterpart Matt Hannon would team up with Goss in a movie, we'd all be the better for it. Hopefully they're not rivals. Fan favorite Cam Mitchell appears as the forever-disgruntled police Captain. He puts in an appropriately irritated performance. Remember, he has no patience for Turky's rogue ways. Troy Donahue is on board as well and it's nice to see him, and Aldo Ray has one scene as a man inexplicably named "Fong". He doesn't seem to be channeling Leo J. James Mitchum plays the gang boss role, and he does a good job, but the kid, Brandon Angle, who plays Stevie, practically steals the movie. He's a talented child actor that sadly didn't seem to pursue a career in acting after this. Maybe he figured he couldn't possibly top Hollywood Cop. He reached the pinnacle of his profession as a tot.
Special mention should also go to Lincoln Kilpatrick as Jaguar, a man with a long and distinguished career that goes back to the 50's. When he wasn't starring opposite Charlton Heston in The Omega Man (1971) and Soylent Green (1973), he was playing some of the best BYC's on film in such classics as the Gary Busey Bulletproof (1988) and the Wings vehicle Deadly Force (1983). The plot of Hollywood Cop basically stops at one point so he can hot-oil wrestle with some bikini'd babes. His name should be more well known.
It's slightly more coherent than Samurai Cop, but Hollywood Cop truly has it all from an entertainment perspective: the B-list stars you know and love, a killer score (by Elton Ahi), tons of laugh-out-loud moments, sleaze, violence, and top-flight ridiculousness. It's all pretty inexplicable. The main song, "Restless" by Andy Madadian, is a catchy winner that puts the icing on an already heavily-frosted cake.
When you pop the Celebrity Video VHS in your VCR, there Goss the neighborhood. Don't be a turkey and check out the awesomeness of Turky tonight!
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There is no doubt that Amir watched Lethal Weapon and it spawned
genius. Hollywood Cop has it's great moments. The scene where the "Arab
Man" somehow SLITS the dude's head off made me choke with delight.
Especially the comment he makes about "His Laws". There are some decent
TnA shots, which is always a plus. The speech that the dead beat dad
gives his son is pretty good too. Sadly the gang members are not that
ruthless, the kid talks too much, and lets face it: The acting is just
TOO GOOD. If you really want a great laugh, watch Samurai Cop (The
funniest of Amir's Holy Trinity). It has just about everything better
than Hollywood Cop.
Also, the car chase scene at the end is almost worthy of being in a good B movie. Almost.
Is it just me, or is this heap of s..t so favorably reviewed, it isn't
funny. One thing this (movie-very sarcastic) truly is. This (film)
sorry, s..t is so bad, it makes Kill point look good. Kill Point did
have class, but I don't know what this film has. This is another write
the script as you go movie, honestly. This film features, over washing
a dog, a stable of classy broads, plus Cameron Mitchell, a lieutenant,
going off at our Mcgyver looking type hero cop, Turk, who earns the
title. Great frizzy hairdo by the way. And for script continuity, what
we've got are prolonged scenes, some almost unnecessary, cutting away
from the meat of the story, that will provide some lengthy snores.
Here's as example of write as you go. A woman who's little boy, had
been kidnapped, and held for ransom, is walking this L.A street,
forlorn, explains her situation to a stranger who points to the
Hollywood cop, who's happening by. Dialogue not exact but words to this
Someone's taken my boy, I don't know
what to do.
May'be he can help. That's Joe Turk. He's
Yeah, really. That's what to expect from this. Some hot looking classy gals, and ones shirtless in panties is the upside of this trash, if written at a minutes notice. Jim Mitchum who plays a bad guy/uptown pimp, what have you, actually does a fine job here, where I had previously seen him in Trackdown, his character in that, playing at the good end of the scale. Some scenes are so embarrassingly funny, especially in an action sequence, where we cut back and forth a few times to a bedroom scene, of drunken angry sex- our henchman wanted to do it on the floor. So, if you're the undemanding viewer, it's pretty much it's your call. If you're the one with regrets, like me, surely, you know what the hell I'm talking about. This is a film so pathetic, I'd feel solely embarrassed watching it, or moronic. Why not just leaves the broads in, and do away with this rest.
A drought of inspiration that marks this sloppily made film will be followed by a deluge of revulsion from many who must overcome their better judgement in order to watch it through to its conclusion. The film opens as "Feliciano" (James Mitchum) and a group of his absurdly vulgar henchmen are engaged in planning their next criminal enterprise, kidnapping a small boy, an action intended to induce the lad's father to fork over six million dollars that he purportedly stole from this mini-mob. We then see Feliciano and his associates as they raid some sort of horse ranch upon which the targeted boy and his mother reside, therewith yanking the youngster from his mother's arms and slaughtering numerous ranch hands, using automatic weapons. The story then shifts to the mean streets of Hollywood, California, where a "rogue cop", Los Angeles Police Department Sergeant Turquoise (Turkey), played by David Goss, assigned to the Department's Hollywood Station, along with his somewhat more manageable partner "Jaguar" (Lincoln Kilpatrick), struggle manfully with the Forces of Evil, depicted against a less than authentic law enforcement procedural backdrop. In between ordering and eating a hot dog from a street vendor, Turkey and Jaguar attack and mow down a couple of rapists in the act, as it were, following which they run into who else but the kidnapped tot's mother, who has peculiarly been instructed by Feliciano to stroll along Hollywood Boulevard in an attempt at somehow locating her estranged husband (and, of course, the six million dollars). Following the traditional "Give me your badge, you're fired!" interim with Turkey's supervising Captain, performed with strident ineptitude by a once competent Cameron Mitchell, a relieved-of-duty Turkey grimly strives to rescue the kidnapped boy. This is a decision that requires him to be specially nimble, as the remainder of the film matches him in opposition to a particularly violent band of thugs armed with a broad range of weaponry. On the face of it, the film functions without a director, and with a screenplay that is probably a mere outline only, as only seldom does a scene offer a semblance of order. It is understandable that the cast may lack inspiration from this crude connection of sex and sadism, wherein entirely well-shaped characteristics cannot be found. A musical background is provided throughout the picture, unfortunate in the event, as it is a loud and boring piece, repeated endlessly, not stilled even when inappropriate, and never to be described as having specifically addressed any screen action. This low-budget affair had yet enough funding for deciding in favour of casting a large group of extras as ruthless (albeit incompetent) Feliciano goons, and also a surplus of nubile females who take any opportunity to aimlessly meander about. In a story wherein it would be difficult to determine which collection of antagonists is the more irresponsible, the camera-work adds little interest. The film's episodes are generally shot in the foothills of Hollywood and its environs. A basic requirement for any production is preparation, but this obviously was not foremost in the minds of this picture's creators, with a result being a pitiable effort that wants for intelligence as well as imagination.
Haha .. All i know about this movie is that its theme song was
performed by Andy Madadian the very very famous Persian singer over 18
years ago now!! ANDY IS STILL GOING!! and is doing better than ever!
I've just seen him live at an open air concert in Frankfurt last week
on the night following the Team Melli Iran Vs Portugal Match. He was
truly amazing!!! I've never seen the film though lol! oh
well...Although we lost the match the atmosphere in Frankfurt was truly
amazing and was one of the best experiences of my life.The film was
made the year i was born so i guess its gonna be pretty hard to get
hold of now, i think i shall try though as it would be interesting to
see the movie. Andy has featured in a number of other Hollywood films
following the release of this movie. check out his site if you like:
Benjamin! (Ey Javidan Iran)
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