Samurai Cop

1991

Crime / Romance / Thriller

Samurai Cop (1991) download yts

Synopsis


Added By: Kaiac
Downloaded 64,936 times
July 9, 2016 at 1:08 PM

Director

Cast

Robert Z'Dar as Yamashita
Warren Stevens as Film Editor
720p 1080p
694.1 MB
1280*720
Unrated
23.976 fps
1hr 36 min
P/S Unknown
1.45 GB
1920*1080
Unrated
23.976 fps
1hr 36 min
P/S Unknown

Movie Reviews

Reviewed by TheMarquisDeSuave 5 / 10

One of the worst films ever made, but also pretty funny

"Samurai Cop" is the absolute worst action film of the 80s, and you know thats saying a lot. Its poorly done and acted, obviously without budget, with a completely moronic script and even dumber acting. In other words, this is a piece of crap. Fortunately, its also pretty unintentionally hilarious, provided that you enjoy bad movies. The acting is wooden and one-note across the board, with Matt Hannon possibly the most uninteresting hero of all cinema. Mark Frazer is just about as dull as one of the most blatant examples of tokenism ever but hes also pretty funny. The wisecracks are so horrible that you begin to laugh at them. There's not too much I can say about this one except this. If you enjoy incompetently made films that provide unintentional humor, you'll enjoy "Samurai Cop". Its bad, but never boring. (5/10)

Reviewed by srfrau 10 / 10

Priceless Cheese

Samurai Cop is sure to please all fans of B-cinema. There are many scenes in this gem that will have you doubled over with laughter. From the initial car chase, to the slow motion katana duel between Matt Hannon and Robert Z'Dar, this movie screams cheese. Its aborted plot revolves around the titular character, Joe Marshall, the "samurai" cop (played by Matt Hannon), who has been transferred from San Diego to Los Angeles in order to assist the LAPD in taking down the troublesome Katana gang. Marshall, so we are told, has trained with the masters in Japan, and so ostensibly has some greater insight into the inner-culture of the Katana. What his expertise is exactly is hard to say, however, because he sneeringly mumbles Japanese names as if they were utterly foreign to him. Indeed, the only thing Marshall does do effectively is hitting on every woman he meets in the most sleazy and tactless manner conceivable. With far more brawn than brain, it is pretty clear from the get-go that Marshall won't be thinking his way through this flick.

It is a film that defies all reason and good taste. Marshall inundates the movie with incredibly lame one-liners and quips, usually entailing sexual innuendo, that find there energy more so in the playful tousling of his hair than in emotion or conviction. Whenever Marshall speaks, he appears dumbfounded by what he just said, as if didn't quite understand himself. Suspending disbelief to envisage a beach bum/meathead as a samurai warrior is just too much to expect of human imagination. And the fact that he owns an ocean side residence in L.A., with outdoor pool, on a cop's salary, doesn't help matters much. The script is blatantly racist in both message and content, and is padded with several gratuitous sex scenes. Marshall's partner is the stereotypical black buffoon who is always backing up our hero (whether with firepower or by serving as the butt of his badly timed jokes) while remaining in the background; and all the female characters are either stupid, trashy, or both. Simply put, Samurai Cop's willingness to forgo all sense and sensitivity for the sake of reproducing brainless actioner fantasies ranks high on the list of B-movies.

Samurai Cop is edited in chop shop fashion; the director Amir Shervan rarely bothers to establish shots, jumping from place to place, moment to moment, without any regard whatsoever for something like "continuity." The action accomplishes the amazing feat of never once being engaging. Dialog is delivered listlessly, often coming off as disjointed, and even nonsensical. This is made manifest in a number of exchanges between characters, e.g. the police captain's wanton use of expletives (with anyone that speaks to him), Fujiyama's orders to his henchmen, and especially the speech Hannon gives to the Katana gang in a restaurant. The viewer also gets the distinct impression that there are only about fifteen sound bites recorded for this film that are looped over and over again. As for its score, it consists of a series of uninspired Casio-produced tunes repeated mercilessly that either color the film with cliché 80s sounds, or fissure a given scene with music that simply does not correspond with the actions of the characters. The general ineptitude of the film, however, results in highly enjoyable viewing experience for anyone who considers riffing on schlock to be a pastime.

Reviewed by udar55 10 / 10

Calling this film anything less than phenomenal would be injustice.

Written and directed by one Amir Shervan, SAMURAI COP is the kind of cinema I live for. An action picture so wrong headed and mixed up that it is hard to believe anyone kept a straight face while making (or screening) it. It is a movie so bad that B-movie queen Melissa Moore leaves it off her resume to leave room for more respectable titles such as Hard to Die, Evil Spawn and The Invisible Maniac. Heck, she even thought Vampire Cop was worthy enough to put on there.

Lead Matt Hannon, apparently a onetime bodyguard for Stallone, gives an incredibly one-dimensional performance, mostly relying on his hair to convey his emotions. The problem is apparently Hannon cut his hair halfway through shooting and is forced to wear the funniest dime-store woman's wig ever during huge chunks of the film. The sheer fact that he fails to ever show a single emotion (outside of his hair) is a monumental achievement in itself. The fact that no one on set even bothered to mention this to him is even better. I guess the producers felt his tanned and chiseled body (along with the aforementioned hair) would do all the talking. But you know you have a problem when the male star's swimsuit is skimpier than his female co-star's.

Of course, his co-stars help him along by maintaining the same level of stiffness. Only Matt Frazer shows some form of life, hamming it up incredibly as Samurai's partner Frank. You can tell that director Shervan walked out of LETHAL WEAPON 2 (1989) that summer with visions of SAMURAI COP dancing in his head. Although the back and forth banter displayed here between partners consists of jokes about Frank's butt (when Samurai isn't making sexual innuendo jokes that is). Robert Z'Dar, sporting a beard and referred to as a Japanese hit-man (!), is relatively subdued when compared to his work in the same year's TANGO & CASH (has anyone tagged both ends of the film-making spectrum like that in one year?). The previously mentioned Moore and single named co-star Cameron (adult film performer Alexis Firestone) provide the requisite nudity. Interesting to see Cameron adopt a more porn sounding name for her mainstream debut. Not to be outdone, Shervan also allows B-movie vets Z'Dar and Okamura to show some skin, something I'm sure their fans have never demanded.

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