The Russians seek help in dealing with the Mafia from the veterans of the Police Academy. They head off to Moscow, in order to find evidence against Konstantin Konali, who marketed a computer game that everyone in the world is playing.

Credits: TheMovieDb.

Film Cast:

• Commandant Lassard: George Gaynes
• Sgt. Jones: Michael Winslow
• Sgt. Tackleberry: David Graf
• Capt. Callahan: Leslie Easterbrook
• Katrina: Claire Forlani
• Konstantine Konali: Ron Perlman
• Commandant Rakov: Christopher Lee
• Cadet Kyle Connors: Charlie Schlatter
• Capt. Harris: G.W. Bailey
• Adam Sharp: Richard Israel
• Lt. Talinsky: Gregg Berger
• Bellboy: Vladimir Dolinskiy
• Anchor Person: Pamela Guest
• Anchor Person: Stuart Nisbet
• News Director: David St. James
• Mikhail: Valeriy Yaremenko
• Leonid: Vadim Dolgachov
• Training Sergeant: Robert Iannaccone
• Mary: Carolyn Kelson
• Patriarch: Nikolai Pastukhov
• Russian Mother: Olga Anokhina
• Lecturer: Sergei Danilevitch
• Yeltsin: Alexander Skorokhod
• Cadet: Sasha Maslansky
• Russian Police Cadet: Oleg Groonevitch
• Russian Police Cadet: Igor Semenkov
• Russian Police Cadet: Andrei Vishnyakov
• Motorcycle Cop: Konstantin Denakhin
• Serge: Sergey Reusenko
• Boris: Aleksandr Tyutin
• Hitman: Aleksandr Peskov
• Old Lady in Gorky Park: Mariya Vinogradova
• Little Russian Boy with Bike: Andrey Annenskiy
• Ringmaster: Zaven Martirosyan
• Piano Player: Julius LeFlore
• Conductor: Pavel Sanikov
• Dapper Man: Dmitriy Chernigovskiy
• Mafia Thug: Villie Golovko
• Buxom Assistant: Amanda LeFlore
• Rakov’s Guard: Michael Bolotin
• Rakov’s Guard: Vladimir Salnikov
• Rakov’s Guard: Andrei Bolotin
• Russian Father: Vladimir Goryushin
• Russian Son: Platon Gorushin
• Russian Daughter: Nastia Gorushina
• Priest in Cemetery: Pavel Ostroukhov
• Katrina’s Replacement Translator: Natalya Pozdnyakova
• Mafia Hood: Yakov Dyrda
• Mafia Hood: Min Dabashinskas
• Mafia Hood: Willie Golovko
• Bodyguard: Sasha Volkov
• Bodyguard: Yury Sysoev
• Circus Acrobat: Zemskovi
• Circus Rope-Climber: Elena Vorobieva
• Circus Clown: Alexander Diamandi
• Circus Clown: Yuri Yermachenkov
• BMX Championship Bike Team: Michel Clerte
• BMX Championship Bike Team: Michel Lavandet
• BMX Championship Bike Team: Olivier Prosper
• BMX Championship Bike Team: Olivier Renard
• Prima Ballerina: Svetlana

Film Crew:

• Sound Editor: Sam Gemette
• Supervising Sound Editor: Clancy T. Troutman
• Makeup Artist: Katalin Elek
• Special Effects Coordinator: Gene Grigg
• Editor: Dennis M. Hill
• Casting: Melissa Skoff
• Producer: Paul Maslansky
• Characters: Pat Proft
• Original Music Composer: Robert Folk
• Characters: Neal Israel
• First Assistant Camera: Martin Szecsanov
• Editor: Suzanne Hines
• Director: Alan Metter
• Director of Photography: Ian Jones
• Second Assistant Director: Alexander Yurchikov
• Producer: Leonid Vereshchagin
• Production Design: Frederic C. Weiler
• Color Timer: David Orr
• Camera Operator: Buda Gulyás
• Stunt Coordinator: Julius LeFlore
• First Assistant Director: Alexander Zelenkov
• Co-Producer: Donald L. West
• Hairstylist: Erzsébet Rácz
• Assistant Editor: John Finklea
• Gaffer: Richard Rees-Jones
• Dolly Grip: Péter Sidló
• First Assistant Editor: Mark Eggenweiler
• Wardrobe Supervisor: Maria Yuresko
• ADR Editor: Tally Paulos
• Special Effects Coordinator: Michael Clifford
• Associate Producer: Suzanne Lore
• Sound Re-Recording Mixer: James G. Williams
• Second Assistant Camera: Zsolt Fehér
• Sound Re-Recording Mixer: Joseph D. Citarella
• Sound Editor: Randall K. Tomlin
• Gaffer: Alexander Egorov
• Unit Publicist: Howard Brandy
• Foley Artist: James Bailey
• Stunts: Yury Sysoev
• Sound Mixer: Steve Nelson
• ADR Mixer: Beau Biggart
• First Assistant Director: Alex Hapsas
• Sound Re-Recording Mixer: Artie Torgersen
• Stunts: Irina Stepanova
• Assistant Makeup Artist: Eta Csabavölgyi
• Writer: Randolph Davis
• Assistant Hairstylist: Hedvig Wieder
• Sound Effects Editor: Bill Fox
• Script Supervisor: Sheila Wilson
• Transportation Coordinator: Chuck Rowley
• Foley Artist: Casey J. Crabtree
• Production Manager: Alexander Nakhimson
• Foley Mixer: Al Gomez
• Assistant Editor: Kimberly L. Sewell
• Stunts: Min Dabashinskas
• Stunts: Ben Kojta
• Stunts: Yuri Prilepo
• Stunts: Valery Barkhtin
• Stunts: Yevgeny Petrov
• Stunts: Igor Yakovuev
• Stunts: Nadya Kaluzina
• Production Manager: George Kuntner
• Art Direction: Ilia Amoorsky
• Set Decoration: Sergey Shiriaev
• First Assistant Camera: Joseph Takacs
• Second Assistant Camera: Thomas Olah
• Assistant Editor: Bill Strouse
• Music Editor: Doug Lacky
• Sound Editor: Daniel Thomas
• Sound Editor: Michael Virnig
• Assistant Sound Editor: Kerry Malony
• Costume Designer: Natalia Dzubenko
• Assistant Costume Designer: Marina Kudriavtseva
• Boom Operator: Thomas Hartig
• Stunt Coordinator: Sergey Vorobyev
• Casting Assistant: Tammy Rosen
• Casting Assistant: Olga Yazykova
• Choreographer: Boris Baranovsky
• Writer: Michele S. Chodos

Movie Reviews:

• Potential Kermode: **See a boiled egg fly through the air from one mans mouth to another mans mouth and then back again – all in Technicolor!**
• Comedy – _negligible_. Interest factor – negligible. Original cast members – negligible. Audiences watching it in the theatres in 1994 – negligible. Box office gross – negligible.
• Farting noises – _absolutely_. Cartoon sound effects – absolutely. Disinterested/embarrassed performances – absolutely. Enthusiastic Russian actors who believe they are performing in a masterpiece – absolutely.
• After watching this movie I had forgotten how to smile. I saw somebody else laughing and I had to ask them what they were doing with their face and what the _unusual sound_ meant.
• Filipe Manuel Neto: **An unnecessary film.**
• Sometimes it seems producers have a hard time understanding when a movie shouldn’t be made. The “Police Academy” franchise should have ended in the sixth film, and even then it would be ending up pretty worn out. This film, made several years later, was an effort that was simply needless and certainly leaves no one with good memories.
• After seeing the movie, I was really sorry that the franchise ended with such a bad movie. It was something that, for me, should have been avoided. “Police Academy” was one of the most interesting and successful comic franchises of the 80s, and there are still many people who have fond memories of these films today. I myself, as a child, saw them several times on television.
• The script is perfectly idiotic and a simple excuse to take some of the characters in the film to post-Soviet Russia, where they must help the local police to fight a big mobster who is turning into an oligarch (one of many that, as we know, emerged from the ashes of the communist regime, fat with shady deals in which the Russian people ended up losing). It’s an unhappy, poor script made by incapable people. Humor, on the other hand, is completely absent. I don’t laugh for a single minute.
• The cast, which until now had been relatively stable (with the absence of several actors starting from the fourth film), had completely collapsed, and most actors refused to be part of this project. George Gaynes is back, but his character, Commander Lassard, looks simply like an old man with Alzheimer’s (with all due respect to anyone suffering from this serious illness, don’t get me wrong). Gaynes is not funny, and his performance here is disgraceful. Michael Winslow also tries to make some of the jokes he’s already used to us, taking advantage of his vocal skills… but he doesn’t have the material or time and what he does has no freshness or novelty. Sir Christopher Lee makes a brief appearance in the film, and as far as I can understand, he did so as a favor to the producer. Friendship is a beautiful thing, and also professional courtesy, but I bet Lee won’t want to be remembered for this movie (and he certainly won’t, he’s done better things, as we know). Who ends up standing out in some way is Ron Perlman. The actor, who we know for other, much more dignified works, tried to be funny and give some dignity to his character. Meritorious, respectable, but unworthy of the actor he is. The rest of the cast is not worth mentioning.
• Are there any redeeming qualities in this film? To be honest, I don’t think so…, but even so, I feel obliged to make a small caveat: I liked the fact that they did a lot of the filming in the real city of Moscow and that they used real Russian extras and Russian speakers. This gives the film a certain authenticity that deserves to be highlighted, and which is most lacking nowadays, where any piece of green or blue screen replaces a real set and saves a few dollars on the production budget. However, it must have taken courage and some dose of madness to try to make a film in the midst of the political and military upheavals Russia was experiencing in those years.