Fuzz Blu-ray Movie

Rating summary

Movie		3.5
Video		3.5
Audio		3.0
Extras		2.5
Overall		3.5

Fuzz Blu-ray Movie Review

Reviewed by Brian Orndorf October 16, 2016

An offering of supercop cinema from a decade that was positively addicted to the stuff, 1972’s “Fuzz” catches up with the ragtag ways of the Boston Police Department as they’re faced with an atypically determined enemy. It’s cold-blooded procedural executed with a special spin, managing a community of exhausted cops, dismissive politicians, and active villains as they race around the city, mixing it up while elements of suspense and comedy vie for the dominating mood. It’s based on the “87th Precinct” series by author Ed McBain, adapted for the screen by Evan Hunter, and they’re both the same man, leading to the sort of confusion “Fuzz” thrives on, overseeing a combustible mix of personalities and tonal adjustments as the production makes its way through the thick of criminal encounters and personal antagonisms. It’s a messy effort, odd all over, but director Richard A. Colla keeps the feature on the move to the best of his ability, wisely investing in brevity as the episodic nature of the source material is hammered into shape here, resulting in an entertaining endeavor that’s frequently breathless, never lingering anywhere for very long.

In the heart of Boston, the local cops try to maintain law and order, but the public doesn’t think highly of them. One criminal in particular is The Deaf Man (Yul Brynner), a hearing impaired mastermind who’s gradually putting pressure on the police with threats of assassinations, targeting politicians unless he collects a small fortune. On the case are Kling (Tom Skerritt), Meyer (Jack Weston), and Carella (Burt Reynolds), who stakeout the city’s unsavory establishments to pick up on clues and tail suspects. New to the force is McHenry (Raquel Welch), whose femininity attracts unwanted attention, forcing the cop to prove herself as she joins the manhunt. As The Deaf Man makes good on his promises, killing prominent people, the police tighten their investigation, working to predict the villain’s next target before another murder occurs.

Chaos is the main character of “Fuzz.” The picture depicts the 87th precinct as a bustling center for cops and robbers, with constant activity dominating the day’s work. It’s enough to have the police working through their cases, but the screenplay maintains a steady stream of distractions, including the arrival of criminals and McHenry, whose beauty attracts unwanted attention, finding the new hire aching to blend in with the all-male crew. Even painters get in on the action, tasked with freshening up the building during work hours, sharing attitude and making a nuisance of themselves over the course of the few days. Dialogue isn’t precise, it’s conversational, watching the characters tease one another as they try to concentrate on the urgent matter at hand, but there’s always time for horseplay, with Carella and Meyer pronounced jesters, hazing McHenry by pushing loony locals on her. “Fuzz” doesn’t even bother firming up The Deaf Man threat until the second half, spending introductory moments following the police as they deal with individual issues, including Carella, who goes undercover as a homeless man to arrest violent youths, only to be doused with gasoline and set on fire for his trouble, putting him on edge with his professional life as he returns to the loving embrace of his deaf mute wife. It’s the only moment of true emotion in the entire movie.

“Fuzz” deals with extremes of action and comedy, but it seems to largely side with silliness. Sure, there’s a body count and shoot-outs, but the antics of the 87th Precinct are more interesting to Colla, who details their antics during stakeouts, with Carella and Meyer clad in nun habits during a city park operation, barely containing their obvious appearance as they wait for a middleman in The Deaf Man case to pick up a wad of money. The gang also enjoys individual adventures around town, including confrontations at a pool hall and a sex shop, which opens up the movie’s scope, but also keeps the feature disjointed as it pinballs everywhere. Camaraderie is amusing, especially with Reynolds and Weston, who make a great team, but casual interplay tends to wear thin as the film enters its final act, while McHenry is completely abandoned by the end. She may be the biggest thing on the poster, but Welch’s participation is minimal at best, practically a glorified cameo.

Fuzz Blu-ray Movie, Video Quality 

The AVC encoded image (1.85:1 aspect ratio) presentation commences with source issues emerging from an aged print. Scratches are present but clear up as the feature unfolds, settling into a pleasing viewing experience that generally supports the particulars of the urban crime story. Detail is satisfying, supplying textured facial responses and set dressing, and costuming keep fibrous qualities. Colors are subdued but effective, handling cooler hues while still retaining interesting primaries. Grain is fine and filmic. Delineation has challenging moments, but doesn't become a sustained problem.

Fuzz Blu-ray Movie, Audio Quality 

The 2.0 DTS-HD MA sound mix deals with thin production values and age issues. It's a sharp track, hitting uncomfortable highs at times, but it deals adequately with the movie's aural bustle. Dialogue exchanges are mostly delivered in group settings with character speaking on top of one another, but intelligibility isn't troubling, maintaining individual performances. Scoring is more substantial but nothing reaches deep, handling moods acceptably. Atmospherics are plentiful, adding a sense of location and movement to the picture.

Fuzz Blu-ray Movie, Special Features and Extras 

• Commentary includes director Richard A. Colla and filmmaker Elijah Drenner.

• "Trailers from Hell" (3:05, HD) offers thoughts from screenwriter Josh Olson, who seems genuinely baffled by the movie, offering little valuable information.

• And a Theatrical Trailer (2:58, HD) is included.

Fuzz Blu-ray Movie, Overall Score and Recommendation 

The Deaf Man's plans finally pick up momentum in the last act of "Fuzz," which begins to assume the form of a traditional thriller. The cops are playing beat the clock with The Deaf Man and his minions, who are after a grander target to make their biggest impression yet on the citizens of Boston (sadly, there's no sense of citywide panic). Violence emerges with shootouts and chases, giving the movie charged imagery to help balance out its pleasingly messy introduction. And it's always good to have Brynner handling scenes of intimidation, managing to make a largely unseen foe into a real threat. "Fuzz" isn't direct, it's barely linear, but it has its own special charisma and way with urban grittiness. Colla takes care of the streetwise chess game, and fans of "Die Hard with a Vengeance" might recognize its combustible energy in an earlier form here, with the features weirdly identical when highlighting the feistiness of law enforcement and precinct commotion as all hell breaks loose. It's an engaging picture with a playful disregard for structure, unfolding in its own way as temperaments are tested and national security is playfully disregarded.