DAY 12. THE FRACAS AND THE FUZZ: Something revolving around cops and criminals.
After a day of cop related slashers, it’s kind of nice to know that I’m finally winding down with the final film — 1992’s Adam Rifkin-directed Psycho Cop Returns. Yes, the same Adam Rifkin that wrote and directed The Dark Backward, as well as being the writer for Small Soldiers, Mouse Hunt and Underdog. He also directed the KISS-centric Detroit Rock City.
Writer Dan Povenmire was offered the chance to direct the film, but as this would require him to quit his job on The Simpsons. Therefore, he declined the opportunity.
Officer Joe Vickers — again played by Robert R. Shafer — is continuing his series of murders for Satan. This time, he’s pretty much going Die Hard on a drug-fuelled office bachelor party.
This is one of the few slashers you’ll see where one of the victims ended up winning the Academy Award afterward. But Nick Vallelonga, who plays Michael, co-wrote and produced Green Book.
To balance that out, the ladies of the film are played by the always dependable Julie Strain (pretty much every late Andy Sidaris movie, but let’s go with Return to Savage Beach), Melanie Good, Maureen Flaherty and Carol Cummings, billed here under her non-adult stage name Kimberly Spies. The two go-go dancers are Brittany Ashland (adult actress Tanya Rivers) and Sara Lee Froton, whose only other credit is the deranged slasher Skinner. They were both discovered by the director at an actual bachelor party. And the host of that party? Charlie Sheen.
John Paxton, the father of actor Bill Paxton, also shows up as Mr. Stonecipher, the boss of this office building that’s being used for sexual and drug-addled hijinks.
Just like the first film in this series, you have the right to remain silent during it, as the humor and gore may just not be your cup of tea. Or you might totally love it. The jury, as they say, is out.
You can buy this from the crazy people that are Vinegar Syndrome, who have given their blu ray release of Psycho Cop Returns all the white glove attention that Criterion would to a Robert Altman film. God — or Satan — bless them.