Our favourite police men are called together to deal with a gang who rob banks and jewelers. Using their various talents as well as their extraordinary luck, the crooks stand no chance against our men and women in blue.

Credits: TheMovieDb.

Film Cast:

• Hightower: Bubba Smith
• Jones: Michael Winslow
• Tackleberry: David Graf
• Hooks: Marion Ramsey
• Callahan: Leslie Easterbrook
• Proctor: Lance Kinsey
• Fackler: Bruce Mahler
• Mayor: Kenneth Mars
• Ace: Gerrit Graham
• Nick: Matt McCoy
• Harris: G.W. Bailey
• Lassard: George Gaynes
• Hurst: George R. Robertson
• Mrs. Stanwyck: Billie Bird
• Flash: Brian Seeman
• Ox: Darwyn Swalve
• Mr. Kirkland: Arthur Batanides
• Bank President: Beans Morocco
• Well Dressed Man: Alexander Folk
• Friend #1: Michael Fosberg
• Friend #2: Fritz Bronner
• Business Man #1: Alan Hunter
• Business Man #2: Mark J. Goodman
• Tackleberry, Jr: Daniel Ben Wilson
• SWAT Team Leader: Greg Collins
• Gym Officer: Christopher Wolf
• Cop #1: Angelo Tiffe
• Cop #2: Anthony Montes
• Bank Teller: Anna Mathias
• Rap Man #1: Melle Mel
• Rap Man #2: Ralph Blandshaw
• Officer: Starr Gilliard
• Looter: Dennis Ott
• Saleswoman: Susan Hegarty
• Store Manager: Peter Elbling
• Hustler: Gary Carlos Cervantes
• Man in a Hurry: Darryl Henriques
• Little Girl: Allison Mack
• Gym Officer: Michael Leopard
• Yuppie with Squeaky Shoes: Rusdi Lane
• Cop Who Sighs: Peder Melhuse
• Old Man: Kort Falkenberg
• Old Lady: Gerry Lock
• Police Officer: Gary P. Smith
• Xeroxed Policeman: Roger E. Reid
• Policeman: Keith H. Moore
• Pool Shooter: Lou Butera
• Bus Passenger: Roberta Haynes
• Cop Who Eats Chili: Tom Lawrence

Film Crew:

• Editor: Hubert C. de la Bouillerie
• Director: Peter Bonerz
• Producer: Paul Maslansky
• Original Music Composer: Robert Folk
• Director of Photography: Charles Rosher Jr.
• Unit Production Manager: Patricia Churchill
• First Assistant Director: Marty P. Ewing
• Second Assistant Director: Artist W. Robinson
• Second Second Assistant Director: Chuck Rowley
• Set Decoration: Tom Bugenhagen
• Camera Operator: Mike Ferris
• First Assistant Camera: Louis Niemeyer
• Second Assistant Camera: Patricia Harrison
• Assistant Editor: Ben Williams
• Assistant Editor: Michael Murphy
• Assistant Editor: Tracy Granger
• Assistant Editor: Stephen R. Myers
• Script Supervisor: J. Ellen Evans
• Supervising Sound Editor: Jeff Clark
• Music Editor: Douglas M. Lackey
• Production Sound Mixer: Steve Nelson
• Boom Operator: Tom Hartig
• Sound Re-Recording Mixer: Dick Weaver
• Sound Re-Recording Mixer: Allen L. Stone
• Sound Re-Recording Mixer: Michael Jiron
• Costume Designer: Peter Flaherty
• Key Costumer: Bob Iannacone
• Costumer: Tina Ficaro
• Makeup Artist: Bernadine M. Anderson
• Prosthetics: Michèle Burke
• Hairstylist: Robert L. Stevenson
• Set Designer: Richard Fernandez
• Set Designer: Eric W. Orbom
• Sound Editor: David D. Caldwell
• Sound Editor: Michael P. Cook
• Sound Editor: Edward F. Fassl
• Sound Editor: James Koford
• Assistant Sound Editor: David Gonzales
• Assistant Sound Editor: Randy Tomlin
• ADR Editor: Craig A. Dellinger
• Foley: Casey Troutman
• Foley: Robert Friedman
• Second Unit Director: M. James Arnett
• Second Unit First Assistant Director: Doug Metzger
• Second Unit Director of Photography: Rex Metz
• Second Unit Director of Photography: Neil Roach
• Makeup Artist: Jerry Soucie
• Hairstylist: Gloria Montemayor
• Casting: Glenn Daniels
• Co-Producer: Donald L. West
• Production Design: Tho. E. Azzari
• Characters: Neal Israel
• Characters: Pat Proft
• Writer: Stephen Curwick
• Stunts: Jon H. Epstein
• Stunts: Chuck Picerni Jr.
• Stunts: Gary McLarty
• Stunts: Gilbert B. Combs
• Stunts: Janet Brady
• Stunts: Scott Wilder
• Stunts: Danny Epper
• Stunts: Eugene Collier
• Stunts: Corey Michael Eubanks
• Stunts: Pat Romano

Movie Reviews:

• Filipe Manuel Neto: **Despite being a family friendly comedy, the quality level has dropped a lot, when compared to the first films of the same franchise.**
• The “Police Academy” franchise is increasingly showing signs of wear and tear. After a film far weaker than any of its predecessors, I had hoped that attempts had been made to improve things a little. However, this film is at least as weak as its immediate predecessor. However, that doesn’t mean it’s a bad movie, quite the opposite. There are much worse and much better rated films out there, and the comedy of this film is quite friendly and familiar, unlike what happens in many other comic films, where the humor is pure and simply dirty. This is an enjoyable movie and sometimes even has some fun… it’s just not as good as its predecessors.
• The script is based on a series of attempts to stop a group of bandits from carrying out a series of crimes and robberies in a certain area of the city. Obviously, Lassard and Harris will be together to do it, and Harris is only concerned with his own career progression and continues to be the preferred target of the cop trolls we already know. The script is not brilliant, but it manages to support the film in the way it was conceived and executed. It turns out that the quality level is now very low, and this can also be seen in the poverty of the dialogues, in the amount of clichés and situations that, instead of making us laugh, make us wonder to what extent the screenwriter was a competent person.
• The cast does what they can with what they’ve been given, but they don’t have the space or material to stand out anyway. Bubba Smith assumes an unquestionable protagonism, but he doesn’t have a character or even material that makes him stand out more. Michael Winslow does what he can, but he doesn’t stand out much either. Easterbrook and Ramsey are a shadow of what they were in other films. Matt McCoy is no joke and shouldn’t be here. Villains can be more idiotic and childish than the Looney Tunes and George Gaynes, as respectable as he is, turned his character into an old man with no memory or sense of the ridiculous. Who is still standing out in some way is G.W. Bailey, but this happens mainly because of the ridiculous situations in which he ends up involved.
• Technically, there isn’t much to say about this film. It seeks to maintain the characteristics and visual aspect of its predecessors, with standard cinematography, conventional editing and few notable effects, in addition to the shots and some interesting situations, such as the one in which Tackleberry writes with his machine gun. Everything else is simply more of the same and doesn’t deserve a specific mention.