Fuzz follows the trials and tribulations faced by the officers of the 87th Precinct in Boston as they go about trying to put the bad guys away. While they're working a number of cases throughout Fuzz, the film focuses on their attempts to locate and stop a mysterious killer known to them as The Deaf Man. He's already killed two local government officials and now has his eyes set on the mayor.I've been aware of the movie Fuzz for years, but only watched it for the first time last night. My preconceived notions were that the film was a gritty Burt Reynolds / Raquel Welch police drama involving a crazed killer. In reality, only part of that is true and that leads to some of the film's greatest weaknesses. To begin with, while Reynolds and Welch might be the names in the cast, this is actually an ensemble piece. Their participation and importance is no greater than their co- stars. In fact, I'd say that Jack Weston and Tom Skerritt feature more prominently than either of the "stars". And, once the case Welch is working is solved, she disappears from the movie for the final 30 or so minutes altogether. All are capable and talented actors, but if you're going into Fuzz for a heaping helping for old Burt or Raquel, you'll be sadly disappointed.As for gritty, sure, parts are. Subplots involving rape and setting winos on fire isn't pleasant. And the film has that New York, dirty, gritty look to it that you only find in films from the 70s – it really can't be replicated. But this isn't something like Across 110th Street. Fuzz attempts to throw comedy into the mix – and does it very poorly. For example, the police stake-out a local park in an attempt to catch the killer. Burt goes in undercover – but he's dressed as a nun. How (not) funny – Burt Reynolds dressed as a nun, complete with that push-broom mustache. The end result is a very uneven film. Finally, while the police are out to catch The Deaf Man, that's only one plot thread in the film. At the beginning of the movie, the police are so concerned with the painters in the precinct, they can't even be bothered with The Deaf Man's calls to the station threatening a commissioner's life. He actually has to call back about three times before they take him seriously. Even then, the killer still isn't the main focus with the mad rapist and the crazed kids out burning bums taking up valuable screen-time. I'm pretty sure the film is at least at the hour point before we even seen The Deaf Man. And his ultimate capture is a real letdown. The cops sort of accidentally stumble their way into finding him. And just as quickly, the movie ends. Despite all the problems I had with Fuzz, I can't really give it an overall bad rating because I still had a surprisingly good time watching it. As I've already indicated, it's got a nice 70s vibe to it, there are some quality actors in the film, and there are occasions where, despite the flaws, the plot works (the death of the Parks Commissioner being a prime example). Overall, a 5/10 from me.

With the last shot leaving very much in doubt whether the crime wave that has struck the 87th precinct is truly over, my guess is that the producers were anticipating a Fuzz 2. The need for one never arose however.A very good group of players just can't quite get this film to come together. Fuzz reminds me of a Police Academy film with two many pretensions. In fact the Boston PD may just be where those Academy graduates end up.The main plot of the film involves a master criminal, the Deaf Man played by Yul Brynner who is blackmailing the city of Boston so he won't kill any of their top officials. He calls his threat into the precinct with detectives Burt Reynolds, Tom Skerritt, Jack Weston, and Raquel Welch are working. When they don't believe him, Brynner kills a couple of city officials to make his point.A couple of other story lines involving a search for some punks setting homeless on fire and a rapist and somehow and through some Clousseau like luck this crowd actually solves all the cases. You have to see the film to see how they do it.Best scenes are Raquel and Skerritt in a sleeping bag while on stakeout with Skerritt getting terribly distracted and Reynolds and Weston as nuns observing them and a possible perpetrator. That's for the main cast members, but when painters Gino Conforti and Gerald Hiken who are busy painting the precinct while all this is going steal the film whenever they're on screen. In fact in the old days some studio would have teamed these two permanently for a series of films. Fuzz is the harbinger of Police Academy films to come.

I am not one who likes police or public safety movies because I cannot relate to Hollywood's false renditions thanks to my experience as a cop in a large city. I can say that this was how police a precinct is with minimal exaggerated humor attached. Police stations may never have that many officers or detectives at one time except at shift change, but there was a scene where almost nobody could could be found at the station which was more realistic. I liked how the movie gave us a lot of different cops, unlike typical movies which show the same one or two cops doing all the work without any collaboration of anyone else. The movie even portrayed police as average boneheads, unlike the unrealistic super brains or Dirty Harry hard-asses usually portrayed in movies. I actually laughed through the movie. I was able to relate more with the cops in this movie than those on "Law and Order" or "CSI".Now the movie was too short to unfold the characters better. I had hoped the cops would actually solve the case and prove they were not "inept" as "The Deaf Man" called them, but that was not to be. All was solved by consequence when all the main perps came together by chance. But, then again, only on TV or in the movies do the police solve all their crimes. I found the movie "Mother, Jugs, and Speed", a cult classic among ambulance people to this day, to be similar in humor.

Bryner (whose fun) plays a assassin who threatens to kill all the city leaders one by one. It's up to some 'zany' characters at a crazy police station to stop him.Attempt at bringing the irreverent, anti-establishment, comedy-drama of M*A*S*H to the police squad, is a complete disaster. The 'wacky' humor is both empty and annoying. Throwing in some strained sentiment and jarring action makes it even more baseless.The actors seem to be just walking through their roles and the direction has no energy or vision. The pacing is disjointed without any rhythm or logic. Just about every shot is dark and shadowy. Like it was filmed on a camera with a very bad exposure.The police station just never seems real. The precinct on BARNEY MILLER is more believable. Also having Reynolds and Weston dress as nuns just to catch the bad guy is a perfect example of forced humor.The lowest point involves a unnecessary story thread where Welch goes after a prostitute killer. The final confrontation scene between her and the killer is a complete and pathetic rip off of the similar scene in KLUTE (complete with those chiming piano chords). This alone solidifies it as one of the biggest bombs of all time. If that's not enough you also have Dinah Shore singing "I'll be Seeing You" over the closing credits.The whole thing is just excruciating. Does feature a young up and coming Tom Skerrit. Also has Charles Martin Smith as a punk who sets street bums on fire.