The Jesus Christ Superstar of action films, a chokingly puffed-up portrayal of Arizona motorcycle cops, arranged in a sequence of blocky, unblended set pieces which demonstrate important truths about policemen -- trigger-happiness, sexual inadequacy, uniform fetishism, human-ness, sense of humor, etc. Conrad Hall's liberated camerawork indulges in slow, grandiose wind-ups and follow-throughs, so that the movie repeatedly appears to be beginning or ending. Put between book covers, the imagery would make a handsome coffee-table companion to Arizona Highways and the Modern Photography Annual. Some of the behaviorisms of Robert Blake and Billy Green Bush are nicely, quietly observed, but ultimately they are avalanched in the production-number atmosphere created by rock music entrepreneur James William Guercio in his first and, thus far, only try at movie directing. (1973) — Duncan Shepherd
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