Slow pace in the most part of the movie.

It is a performances centric movie

A story that's too fascinating to pass by...

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

(Originally reviewed: 10/02/2017) Clint Eastwood's first and hopefully only awful film. Coogan's Bluff holds a 94% rating on Rotten Tomatoes, and so I thought well this has a fair chance of being a classic, but to my disbelief as soon as the film continued to progress I hated it even more than I did when it started. Eastwood is probably the only good thing about this film, or maybe his performance and some of the classic 60's background music that fit's the film quite well, but it cannot work too well if the film it plays in, is as disgusting as this one. I'll keep this short as the positives are already out of the way, the entire supporting cast which were so forgettable do not deserve a mention and they were mostly playing stupid, crazy or laughably bad characters. The first truly morally incorrect scene start's when a female police officer is being groped in plain sight at a police station with plenty of witnesses, and during this scene the creep says "I can feel your heart", it made me sick to my stomach, this guy was not her lover he was a stranger and I don't care what era you're in, you have no right to touch another person inappropriately without their consent. But what really annoys me is that when Eastwood saves the day, by punching that jerk in the face, she starts shouting at him, telling him to apologise and I kept thinking so the women in this film are portrayed as mere objects and there happy to let someone touch there boobs without consent? This film is so wrong, if you did that in real life you would be facing a suspended hearing before a judge. The film isn't even a chase it's like a bad police drama with a final chase sequence, and there's even a nightclub scene involving junkies and loonies; now Coogan (Eastwood) thinks that for some suitable info, he should ask these drugged up mental patients, always a good idea; and while he's trying to get them to talk, one of them even pulls out a blade and Eastwood is ready, which is laughably clichéd, later on he goes with the female nutcase to find the escaped criminal, in which she leads him into an ambush and a severe beating; who would of thought a drug addict and a nutcase could be lying? Rarely am I sarcastic but here is a film that is so dumb it's required to do so. Special mention to that crazy woman getting used as an object, insulted by her so called 'boyfriend' and shouting "Jimmy" loudly three times; when she shouts Jimmy I can't deny I laughed because it's unintentionally hilarious and shows how awful she was.Every scene has some corny, forgettable one liners, it's not funny, there's even a joke from some ugly old hag who shouts some nonsense that I somehow can't remember. Coogan's Bluff is not an action film or even an entertaining one, it's a clichéd worse than usual bore-fest, with ugliness, sexism, a forgettable villain and a laughably lame final sequence. This is the only Eastwood film I actually despise.

What would happen if you put a cowboy in New York City. Coogan (Clint Eastwood) comes to the big city with an agenda. He is at his best in a pre-Dirty Harry movie. His actions are the same. He is a lawman who doesn't play by the rules, resorting to serious violence when he doesn't get the cooperation he wants. The key here is the whole Eastwood persona. He speaks in that guttural voice, almost a whisper. When he talks, people listen. He runs into some punks of course, and needs to teach them a lesson. He also has to go underground, dealing with some women who have no trouble engaging the big guy. Lately, Eastwood has really been ticking me off, but I have to admit that he has had quite a career.

What struck me about "Coogan's Bluff" is Clint Eastwood's performance. Here, he plays a cocky Arizona deputy who has little regard for his prisoner, as well as for acting on the directive of his superior in his home area.As a result, he gets sent to New York to retrieve a prisoner.And the "fish out of water" gets an education and then some.This film may have been a prototype of the "McCloud" television series, for sure. While there are elements I see from the "Dirty Harry" series of films, his character here is more the Arizona cowboy who has a sense of propriety than the San Francisco detective he portrays later on. For example, he reacts badly toward a parolee who is fondling Susan Clark's breast, early in the movie.The film is an education both for Coogan, and for his New York counterparts: By the end of the movie, he treats his prisoner (Don Stroud) with respect, offering him a cigarette (obviously something WAYYY dated), Lee J. Cobb learns to respect the Arizona deputy and Susan Clark clearly cares for the Arizona deputy.Its flaws notwithstanding (not all of the New York scenes were filmed there; some were done on a back lot in Hollywood), I consider this one of Clint Eastwood's best performances, playing an Arizona deputy, warts and all. And you gotta love the vintage footage of New York in late 1967, when this was filmed!!

A fish-out-of-water comic action film in which Eastwood's cop cowboy is sent to New York to track down an escaped criminal. Once there, his Stetson-wearing character causes chaos in the local police department, while taking time out to romance a beautiful flame-haired woman.COOGAN'S BLUFF is very much a slight and lightweight piece of filmmaking that can't hold a candle to the star's more serious police thrillers and westerns. That's not to say it's unwatchable, though; in fact it's fairly appealing, trading in on the star's youthful charm and giving him more of a chance to experiment with comedy than he usually gets. As the film progresses, he finds himself caught up in the era's counter-culture movement with some memorable results.Don Siegel shot the film, so it looks great. There isn't a great deal of action, but it does close off with a rousing motorbike chase which is one of the most inventive I've seen on film; playing things simple always works out for the best in the end. Lee J. Cobb delivers an amusing turn as the exasperated lieutenant and Susan Clark (best known as 'Cherry Forever' in PORKY'S) is fine as the would-be love interest. Eastwood's character, a forerunner of Dirty Harry, is understated but also deliciously amoral and his visit to a liberal club makes for an amusing highlight.