TrueJoshNight Truly Dreadful Film

Micransix Crappy film

Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

MisterWhiplash While this doesn't feature too many of the mind-blowing and death-defying stunts that Buster Keaton was known for - don't get me wrong, there are a couple, one involving a small bomb that Buster uses to light a cigarette before discarding in front of some cops, and there's a bit with a ladder that he gets stuck on between two sides of cops after him - it's an excellent example of making comedy out of a chase. A lot of people will say physical comedy would be nothing without the chase sequence, and it's in that in mind that Cops is essential viewing.It's not a chase through the whole film, and the majority of the cops of the title aren't there until halfway through; this is actually about Buster trying to impress a girl by becoming a 'good businessman', and how he does that is use a (ahem) wallet he happened to lift, sort of accidentally, from some town mayor, and uses the money to help out a family moving their stuff over town. He (sort of) helps pack up a cart and has to go with the horse across town. Not necessarily easy, one sees, when the horse is slow as hell. Maybe some goat gland therapy (?!) will do the trick, and maybe too well as case turns out.The reason to see this isn't for the story and Keaton and co-director Kline know that, so it's really jam-packed with energy: seeing Buster run, even at the sped-up film speed, is exhilarating, especially when seeing how it's choreographed with the hundreds (I'd say that's a fair estimation) of cops chasing after Buster once he happens upon a city-wide cop parade. There's always time for a gag where Buster hides in a trunk (or gets caught in one), and how he manages to slip out and keep moving may be ridiculous, but there's always some logic to it, whether it's more cartoonish at times than others.I think the key thing with Cops is that we're fully on Buster's side, though the Cops of the title make for splendid foils and characters for Buster to play off of; when he is being chased by one cop, he tries to hide behind another cop directing traffic, and the cop hits the other instead of Buster. Classic move, and yet while we're often told to respect the police and be nice and yada yada, Keaton knows that with him in the lead there's no way we don't want to see him f*** with them at least a little. It's a joy to behold how this man acts and directs this, leading up to an ending that might almost be bittersweet if it wasn't all so perfectly silly.

st-shot Buster Keaton packs an awful of laughs into this 18 minute short with some topical and subversive slapstick that at times reaches epic proportion.Buster once again finds himself rejected by a sweetheart who feels it doesn't have the right stuff to be a wealthy businessman. Disconsolately he sulks his way down the street benignly relieves an ungrateful detective of his cash then gets conned into buying someone else's furniture which he puts on horse drawn wagon and rides off with. The worst is yet to come however when he is suspected to be a bomb throwing anarchist attacking a police parade. Keaton eluding a virtual army of pursuing police makes for some of the best slapstick in silent film history. It is the mother of all keystone cop chases as he finds all sorts of ways to elude the waves of blue converging on him. Leading up to the chase there are little gems as well with Keaton and the detective and a concocted Rube Goldberg invention to ward off vicious dogs that instead floors traffic cops.While Cops glowingly achieves what it sets out to do, produce torrents of laughs, it is worth noting how Keaton subversively creates a world of hostility and corruption as an unsentimental backdrop. The ex is an unrepentant social climbing gold digger. The ungrateful detective is coarse and from the look of the roll Keaton relieves him of, on the take. A bomb throwing anarchist ( in an early example of racial profiling a Sacco-Vanzetti look alike), a slick con man, a vicious dog and even Buster himself who in the course of the film builds quite a rap sheet through misunderstanding displays an intolerant, exploitive society that makes Keaton final act in Cops resonate with a comic existential flourish.

ackstasis Lying in bed with a sore throat, I needed some cheering up. Buster Keaton didn't let me down. 'Cops (1922)' is generally typical of the comedian's two-reelers of the early 1920s, though with a lesser emphasis on the ingenious gadgets exhibited in 'One Week (1920)' and 'The High Sign (1921).' The film opens with Keaton apparently looking through prison bars at his sweetheart, until a clarifying shot reveals that it is merely the girl's front gate {Harold Lloyd seized this visual gag for the opening of 'Safety Last! (1923),' but he had a right to it – one scene in Keaton's film, whether unintentionally or not, resembles the manner in which a prop explosion decapitated Lloyd's hand in 1919}. After convincing himself to become a businessman, Keaton's Young Man goes on to show that he has the worst luck in the world. First, he is bamboozled into purchasing another family's furniture (by Steve Murphy, the pickpocket in Chaplin's 'The Circus (1928)'), and then gets caught up in a police parade, where, ever a victim of circumstance, he is wrongly accused of performing an act of terrorism.Keaton loved ending his film's with an overblown chase sequence, whether it be the stampeding cattle in 'Go West (1925)' or the stampeding women in 'Seven Chances (1925).' In 'Cops,' our hero is pursued by hundreds of uniformed policemen, swinging batons and tripping over themselves. Here, Keaton really earns his title as the "Great Stone Face." The chaos and confusion of the pursuit is amusing enough, but even more so is Keaton's extraordinary lack of facial expression – he just runs, staring blankly ahead, like a man who expects his problems to dissipate as soon as he wakes up. Also incredible is the performer's physical dexterity, as he flips back and forth over a tall ladder balanced precariously on either side of a fence. Also watch out for Keaton regular Joe Roberts as the Police Chief, and recurring co-star Virginia Fox in a disappointingly brief role as our hero's love interest. Even an aching throat can't dampen the chuckles in this excellent comedy short. If laughter is, indeed, the best medicine, then I should be better by the morning.

charles_hardin_holley Cops is perhaps Buster's best short. It's my favorite, at any rate, and that's saying something, because as great as many of his features from the 20s were, his two-reelers were probably his best work. In them he perfected the least sentimental of his personas: an opportunistic, somewhat roguish chap, who doesn't mind getting into a scrape over a girl or a bit of a scam, but who usually manages to get out of it with his wit, athleticism and charm.Keaton invented so much of cinema as we know it today, and rarely gets credit for it, so you really should seek out and watch as much of his pictures from the 1920s as you can.