Maniac Cop 3: Badge of Silence return of the chin.

Posted: January 28, 2013 in FILM REVIEWS/COMMENTS
Tags: , , , ,

Former killer cop, officer Cordell is resurrected to take care of some unfinished business and exact revenge on those who have disgraced a policewoman shot in the line of duty.
Despite being made in 1993 Maniac Cop 3: Badge of Silence reeks of the 80s far more than Cordells rotten flesh, basically it’s part slasher flick, part cop shoot ’em up. There’s stunt doubles, car chases and cops on the edge. To its credit Larry Cohen’s Maniac Cop 3 story touches on some topical issues, problems with gun crime, the TV/press manipulation and corrupt officials.
With a hint of the Bride of Frankenstein and a more blatant supernatural overtone Robert Z’Dar is reduced to a zombie with a bigger chin than Bruce Campbell as wronged cop Matt Cordell. It feels like Z’Dar has less to do this time around and through no fault of his own his character is a shade of grey with his motivations as murky as cities officials.
The casting is above par for this kind of flick. Robert Davi is on form as usual, returning as Det. Sean McKinney and pretty much owns each scene with a Dirty Harry grimace. Top character actors Robert Forster and Paul Gleason have welcomed bit parts with Ted Raimi putting in cameo.
Where as part one shocked because of its daylight surprise setting, two because of its dark tone, grit and seediness part three is only notable for being the darkest looking installment lacking it’s own identity feeling like an episode of the Equaliser starring The Terminator in places. However, where the aforementioned parts were low budget with a big budget results, edgy and delivered shocks, three falls short feeling rushed and underdeveloped retreading the antagonists past and redemption. Nevertheless, to director William Lustig’s credit and writer Cohen 3 manages to mix a voodoo element and the gritty police backdrop successfully unlike for example Halloween 6 which followed two
years later.

Overall, while not as entertaining nor as well executed as its predecessor it’s worth seeing if only for the stunt-work, Caitlin Dulany and Davi’s performances and also to hear Joel Goldsmith overlooked score.

 

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