I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

The movie really just wants to entertain people.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Have any of you gone out into public lately? Maybe you navigated to an office building where you work, or a new eatery down the street? It turns out the world is loaded with morons. Once in a while I stumble upon a sanctuary where I meet someone who is clearly as confused as I am about how this world manages to make a single revolution, considering it is weighted down by so many fools.Here is the real joke though: None of these people realize they are fools. They are committed to their moronic thoughts and ideas because they don't know them to be.The goal of this movie is simply to mock the morons that have elevated themselves to a place of meaning in our world. If you find yourself not enjoying this movie or confused by this movie, I have terrible news for you. You are the moron. We know that you don't get it, that's why it's funny. Stephen Colbert did it every night for years.

I was going to attempt an actual review of this, but well brought up by my mum, I was reminded of the saying "If you can't say anything nice"... but I'll break my rule for this gem.The directing lacked - well - everything, the acting reminded me of a third grade play, perhaps in part due to the simply awful script which did absolutely nothing to pull the viewer in. I don't mind innuendo and crude one liners but it has to be done well and this felt forced and tired - a poor imitation of decades past. The editing was perhaps the only area where I could give any praise what so ever, however not for the actual cut but more for the work that must have gone into fixing what I can only imagine was a train wreck.Not only do I want my 82 minutes back, I would also like assurances that under no circumstances will these people ever be allowed to make a movie again.

I have never felt so ripped off and disgusted after walking out of a movie theater. They stole both my money and my time. I can't fathom how anybody gave this film a rating above 2 (except for the plausible exception of the guy that got high before watching this filth).The movie appears to be the work of an incompetent poseur freshman film student trying to make some type of avant-garde and eclectic movie which avoided the stereotypes of Hollywood and standard cinema guidelines. So much of this film was not only non-sequitur (in an unintentional way), but was filled with outdated, offensive "humor" which lacked any punchline. There are so many inconsistencies in the story line and no closure to key themes in the movie. (What happened to the dying guy who was in much of the film? He was just forgotten at the end).It appeared like the director watched a series of early-80's art-house films (Liquid Sky, Videodrome, etc) to be "inspired" to meld quirky music with jumping from scene to scene without much plot or consistency. Either that, or he watched a series of American police comedies (Police Academy, Reno 911) and did not understand that there are several jokes in those which are context-based or have some type of pop-culture reference. This film seemed to want to have such jokes but lacked any pop-culture connection for anchoring any of their attempts at humor.This movie not only falls flat but could only be a cult classic for those whose only method of sitting through it are taking drugs and entering an altered state of reality. The Russian connection of this film is obvious in the way they portray the police. I can only see that the inspiration was transplanting corrupt Moscow police mentality into LA and think that the audience will have both the cultural references for both of these environments. Even with this cultural context I felt completely violated by this film and can't get back either the time or the money I wasted on this worthless garbage.

"This stinks of Germany!," hollers Duke (Mark Burnham), a pudgy, crooked cop, who is one of the many characters in Quentin Dupieux's latest film Wrong Cops. The context involves a shady figure named David Delores Frank (Marilyn Manson) giving Duke a taste of the new-age, Dubstep-esque kind of music the kids are listening to today. The scene is an accurate summation of everything Wrong Cops includes - quirky characters, inane little vignettes, random bits of humor, comedic laxness, and bumping house music housed inside a seventy-eight minute runtime.This is Dupieux's third feature, his first being the widely-scene sleeper-hit Rubber, involving a killer tire, Wrong, a damning film about a man who wanders into the strangest of circumstances while trying to find his lost dog, and now Wrong Cops, the sorta-kinda followup to his last endeavor. The film continues the line of absurdist, surreal comedy, which is really hit and miss in the long run. However, Wrong Cops has probably more hits than any of Dupieux's previous features. Rubber was great fun for about fifty minutes - the problem was it was eighty minutes long - and Wrong felt like a screen writing exercise involving vapid characters and asinine circumstances clobbered together.Wrong Cops, similar to Wrong in several ways, flies by the seat of its pants, possessing a vague plot that can be summarized in a sentence and includes numerous vignettes on its many characters. The plotlessness helps Dupieux communicate every cockamamie thing he wants to in a relatively short amount of time, so calling the film a burden on somebody's behalf is quite the overstatement. The story revolves around a band of bumbling cops who accidentally shoot an innocent person and must dispose of his body. Now that the plot is out of the way, the story largely focuses on the antics involving Duke, a hilariously vulgar officer who deals bags of marijuana in secrecy by handing the customer the product inside a dead rat to avoid drawing attention. Duke, however, is at kind of a loss, trying to retrieve money from a customer (Steve Little) who continues to buy more and more marijuana without having the money. Another noteworthy character is Renato (Eric Wareheim), a dopey cop who barely gets by when he's left to his own wit. The only cop who seems to have sense is Shirley (Arden Myrin), who works closely with Duke.To begin with, the film feels like a series of fifteen minute long skits fit for the lineup of Cartoon Network's Adult Swim, strung together in a halfway coherent seventy-eight minute film. The spontaneity and unpredictability of this project can be commended as a rather risky effort by Dupieux but the result feels somewhat incomplete and lacking seeing as there really is no continuity in the film whatsoever. Furthermore, the anti-humor schtick is still wonky, once again leaving me at a point of confusion, as I don't know what the humor is trying to be other than as weird as can be because, as far as I can tell, the entire movement doesn't seem to know what it wants to be.Wrong Cops, however, is entertaining, albeit disjointed. Aside from the style of humor and situational weirdness that was clearly present in Wrong, the same goes for the easy-on-the-eyes, washed out cinematography, whose color-scheme consists of faded yellow, sky blue, and plain white to make for an always beautiful look. Quentin Dupieux is easily one of the damnedest new filmmakers, and I technically haven't really liked one of his films yet, but his style, efforts to blend contemporary surrealism with comedy, along with persistency into throwing characters and plots together for "no reason" begs to be explored, for it seems genuinely fresh and unique in an age where so much isn't.Starring: Mark Burnham, Steve Little, Marilyn Manson, Éric Judor, Eric Wareheim, and Arden Myrin. Directed by: Quentin Dupieux.