When police funding is cut, the Governor announces he must close one of the academies. To make it fair, the two police academies must compete against each other to stay in operation. Mauser persuades two officers in Lassard’s academy to better his odds, but things don’t quite turn out as expected…

Credits: TheMovieDb.

Film Cast:

• Sgt. Mahoney: Steve Guttenberg
• Sgt. Hightower: Bubba Smith
• Sgt. Tackleberry: David Graf
• Sgt. Jones: Michael Winslow
• Sgt. Hooks: Marion Ramsey
• Lt. Callahan: Leslie Easterbrook
• Comdt. Mauser: Art Metrano
• Cadet Sweetchuck: Tim Kazurinsky
• Cadet Zed: Bobcat Goldthwait
• Comdt. Lassard: George Gaynes
• Cadet Adams: Shawn Weatherly
• Sgt. Copeland: Scott Thomson
• Sgt. Blanks: Brant von Hoffman
• Sgt. Fackler: Bruce Mahler
• Governor Neilson: Ed Nelson
• Cadet Fackler: Debralee Scott
• Lt. Proctor: Lance Kinsey
• Cadet Nogata: Brian Tochi
• Cadet Kirkland: Andrew Paris
• Chief Hurst: George R. Robertson
• Cadet Hedges: David Huband
• The Hooker: Georgina Spelvin
• Cadet Baxter #1: R. Christopher Thomas
• Cadet Baxter #2: David James Elliott
• Mr. Kirkland: Arthur Batanides
• Mr. Bellows: Jack Creley
• Ms. Tyler: Rita Tuckett
• Mr. Delaney: Chas Lawther
• Ms. Click: Lyn Jackson
• Mrs. Hurst: Mary Ann Coles
• Cabbie: Sam Stone
• Line-Up Room Victim: Grant Cowan
• Line-Up Room Cop: Bruce Pirie
• Axe Murderer: Doug Lennox
• Tommy: Theo Caesar
• Basketball Player: Susan DeRyck
• Sarah: Marcia Watkins
• Sarah’s Mother: Pam Hyatt
• Woman at Cafe: Fran Gebhard
• Man with Cigar: Les Nirenberg
• Maid: Gloria Summers
• Elderly Man: Fred Livingstone
• Woman at Phone Booth: Gladys O’Connor
• Hotel Manager: Elias Zarou
• Bartender: Gary Flanagan
• Boy on Bicycle: Pierre Berube
• Gang Member #1: Peter Colvey
• Gang Member #2: Alex Pauljuk
• Purse Snatcher: Anton Tyukodi

Film Crew:

• Second Unit Director: M. James Arnett
• Assistant Editor: Stephen R. Myers
• Editor: Bud Molin
• Production Design: Trevor Williams
• Producer: Paul Maslansky
• Characters: Pat Proft
• Local Casting: Ross Clydesdale
• Director: Jerry Paris
• Original Music Composer: Robert Folk
• Casting: Fern Champion
• Writer: Gene Quintano
• Characters: Neal Israel
• Director of Photography: Robert Saad
• Music Editor: Kenneth Wannberg
• Assistant Editor: Kelly G. Crawford
• Stunt Coordinator: Alan Oliney
• ADR Editor: Gail Clark Burch
• Casting: Pamela Basker
• Third Assistant Director: Bill Bannerman
• Stunts: Dick Ziker
• Stunts: Jeff Imada
• Assistant Editor: Ben Williams
• Production Coordinator: Alexandra Raffe
• Extras Casting: Peter Lavender
• Associate Producer: Donald L. West
• Script Supervisor: Elaine Yarish
• Makeup Artist: Ken Brooke
• Local Casting: Maria Armstrong
• Special Effects Coordinator: Cliff Wenger
• Second Unit First Assistant Director: Jack Roe
• Stunts: Alison Reid
• Sound Re-Recording Mixer: Michael Jiron
• Production Sound Mixer: David Lee
• Sound Re-Recording Mixer: Dick Weaver
• Unit Production Manager: Suzanne Lore
• Special Effects: Eric Roberts
• Boom Operator: Steve Switzer
• Sound Re-Recording Mixer: Allen L. Stone
• Casting Coordinator: Sue Swan
• Supervising Sound Editor: Dale Johnston
• Second Assistant Director: Rocco Gismondi
• Set Decoration: Sean Kirby
• First Assistant Director: Michael Zenon
• Second Unit First Assistant Director: David Starke
• Art Direction: Rhiley Fuller
• Costume Designer: Aleida MacDonald
• Hairstylist: Albert Paradis
• Costumer: Mary McCready
• Music Supervisor: Tena Clark
• Casting Associate: Mark Holub

Movie Reviews:

• Filipe Manuel Neto: **More of the same, but with quality and fun.**
• This is the third film in the memorable “Police Academy” franchise, which was a remarkable success during the 80’s and 90’s. Of course, it’s old stuff, but it’s curious how, even today, many people remember these films, which are still quite easy to find on TV in Portugal. In this third release, the quality and freshness of the comic material is still remarkable, and the film manages to keep up with the two predecessors with relative ease.
• The plot continues to be the Achilles heel of these films, but it gives us what is essential to sustain an hour and a half of different antics, with some mixed action: with expenses rising, the city decided to extinguish one of the two training academies for existing police, one being our well-known academy, led by Commander Lassard, and the other a rival academy, meanwhile formed by Commander Mauser. Seeing things get complicated, Lassard turns to Mahoney, Jones, Hightower and other law enforcement officers already well known to all of us for help, knowing they are the right people for the mission.
• Continuing the efforts of the previous films, the crew and cast members are virtually the same as in the previous film. Jerry Paris, who had directed the previous film, remains in charge of the production and manages to give a great sense of cohesion to all the work developed. The bulk of the cast is present again, giving us more than we’ve ever seen, without surprises, but managing to live up to our expectations very well. We have Steve Guttenberg in the role of Mahoney, but giving the character more maturity and a sense of responsibility. Michael Winslow gets more attention in this film, and better material to work with and showcase his vocal gifts. Bob Goldthwait also gets more attention and more refined material, and along with the hilarious Tim Kazurinsky, he’s going to be one of the funniest course cadets at the academy (in fact, the two actors complement each other amazingly). Also Art Metrano manages very well and gives his character a touch of elegant cynicism, being the ideal target for the mischief of others. Leslie Easterbrook also has more room to show value, achieving in this film one of the most interesting works of her career. David Graf, Bubba Smith and Marion Ramsey keep the same record we’re used to, no big surprises.
• The film retains the production values of its predecessors. In addition to good filming locations and good costumes, the special effects are of good quality and the action scenes here received a more attentive treatment, and they work very well, especially in the final part. The editing was well executed and the fast pace of the film doesn’t tire us, although at times we feel that it is nothing more than a collection of situational and verbal jokes, one after the other, and not a comic feature film.