Police Academy films are a weakness of mine, they are stupid, vapid, idiotic and funny as all hell. I do so love these characters and they are in top form as the goofball graduates from the first Academy come back to save their alma mater.

It seems that budget constraints have forced Governor Ed Nelson to close one of the two Police Academies. The first one is run by clueless Commandant Lassard as played by George Gaynes. The second is a discipline factory run by the nemesis of the graduates from the second Police Academy movie, Sergeant Mauser, played with relish by Art Metrano now a commandant of that Academy.

So a contest is to be held to see which one stays open and our regulars, Steve Guttenberg, Bubba Smith, Michael Winslow, Marion Ramsey, David Graf, and Leslie Esterbrook go back to help the captain they made life hell for as cadets.

When you think about it, are the Police Academy movies any different than the classic Keystone Kops? A lot of the same gags are used and a lot more of them that could never have been got away with back in those days. But the idea is the same, an irreverence for law enforcement in the funniest way.

These are not films to write elegant tomes about, they are films to laugh whatever part of your anatomy off you want.

The best of the 'Police Academy' films will always be the original by quite some way. It isn't great and will never be a favourite comedy or overall film of mine, but it clearly knew what it wanted to be so it was easy to take it for what it was and what it set out to do.

It was followed by six sequels, and none of them were as good or even on the same level as the first, though admittedly some are worse than others. Most of them are actually being pretty bad or worse and lose what was enjoyable about the original in the first place. After a tolerable but vastly inferior first sequel, the quality worsens with 'Police Academy 3' while not being one of the series' worst.

'Police Academy 3' is not irredeemable, then again this is coming from somebody who always tries to find something good in mediocre or less films. A few cast members fare well, those being Michael Winslow, David Graf and Leslie Easterbrook. George Gaynes is always watchable and is here too even with his material not being as meaty or as funny.

Robert Folk's score is robust and infectious and there is a bit with a scooter and a car that is quite amusing and the best timed of all the gags.

Unfortunately, too much of the cast have little to do or have lost what made their characters work before. Steve Guttenberg has lost his spark and enthusiasm, while Marion Ramsey does little with a character that has nothing to her and, while a high-point in the second film, Bob Goldthwait is even more unsubtle and tries far too hard here that it's irritating.

Sadly there are nowhere near enough laughs, maybe a couple of minor parts work but there are no real highlight scenes really (which the first two had) and the rest of the gags are poorly timed, feeling laboured and with some abrupt shifts from one to another, parts that are more grossly crude than anything remotely amusing and too much of it has a style of humour that feels far too toned down, which makes the film feel leaden and bland.

Production values look rushed, like there were severe time and budget constraints, while what little there is of the story (most of it close to non-existent rather than thin) is an incredibly lazy-feeling replay. The climax goes on for far too long and a lot of it is ineptly staged and the low point of the surprisingly amateurish direction. The script throughout takes the dumbness way too far and some of it is pretty puerile to insulting degrees.

Overall, the IMDb taglines listed couldn't be more ironic summing up a weak (but worse was to follow) entry. 3/10 Bethany Cox

Normally the second sequel to a franchise is the worst of the trilogy. Occasionally there are exceptions to the rule but this is less likely to happen. The adult R-rated Police Academy (1984) comedy may have not contained the classiest of jokes but it had its moments. The characters all had their own personalities and trademarks. The slapstick was doable and many a time it was all over the place. The area that really suffered was the lack of development for every character because of it being overly packed with roles. This is what happens with ensemble casts though. The same goes for its sequel Police Academy 2: Their First Assignment (1985). The difference between that and the original was the addition of new and the omission of older characters. Without rhyme or reason, the missing characters are never mentioned. Comedic value was also recycled at times although some of it worked as well. No doubt with both being fairly popular among its fans, the third film in the series would revolve around the same kind of antics.

In Police Academy 3: Back in Training (1986),the plot deals with returning characters from the last two films becoming the trainers to the next incoming class of cadets. Unfortunately of the two academies, only one will remain - Comdt. Lassard's (George Gaynes) or Comdt. Mauser's (Art Metrano). The governor (Ed Nelson) felt only one academy was needed so Lassard's alumni want their police academy to win. The alumni to return are Mahoney (Steve Guttenberg),Hightower (Bubba Smith),Tackleberry (David Graf),Jones (Michael Winslow),Hooks (Marion Ramsey),Callahan (Leslie Easterbrook) and Fackler (Bruce Mahler). For this sequel, the script was written by Gene Quintano and surprisingly it's slightly better. As of today Quintano is best known for writing Loaded Weapon 1 (1993) and Sudden Death (1995). What's different about this entry as to the prior one is that the original cast is in a teaching position now. Seeing Mahoney, Hooks, Hightower, Fackler, Jones and Tackleberry at the same level as Callahan shows they have grown.

Even some of the individuals from the first sequel have some growth. Characters like ex-criminal Zed (Bobcat Goldthwait) and Sweetchuck (Tim Kazurinsky) learn to get a long as cadets. The comedic gags are also somewhat improved since last time. Anything dealing with Comdt. Lassard, Zed, Hightower, Jones or Hooks should get plenty of laughs. Comdt. Lassard is goofier than ever and reminisces to Leslie Nielsen. Zed, although hard on the ears makes use of his fluctuating vocal chords to his advantage. Hightower continuously gets props for being a lovable bear that's tough as nails. Hooks even gets to train some as well instead of sitting at a desk all day. And Jones, well he's always the master of sounds. Although Mahoney is the lead character, his colleagues get a fair share too. The focus is distributed rather evenly this time, which is nice. However that doesn't leave the writing without its problems. Some of the returning characters do not get a lot of focus. Copeland (Scott Thomson) and Blanks (Brant Van Hoffman) get shorted on this.

Lance Kinsey as Proctor continues to report to Mauser but also doesn't get a lot of attention. Two new cadets Kirkland (Andrew Paris) and Nogata (Brian Tochi) have their moments but don't contribute much. Tochi would end up voicing Leonardo in Teenage Mutant Ninja Turtles (1990) and its sequels. Lastly there's a new love interest for Mahoney named Cadet Adams (Shawn Weatherly). She's by the far leaves the least impact. This is the least of the story's problems though. Again previous characters have vanished without a trace. What happened to Tackleberry's girlfriend who loved guns? What happened to Mahoney's partner who ate garbage all day? No explanations are given whatsoever. And although the slapstick is slightly funnier than before, there are still homophobic and racial jokes thrown in from time to time. The last issue clearly visible to viewers will be that there is no real antagonist. Yes Comdt. Mauser wants to off Comdt. Lassard's academy but aside from that, random villains show up with no motive. What's the point then?

Jerry Paris directed again for this entry in the series. With his direction, the overall look and feel has not changed. The same could be said for Robert Saad as the director of photography. Though the cinematography has changed hands over the last couple of films, Saad's work looks very similar. There's plenty of lighting to see what needs to be seen. For once the final showdown also doesn't take place in a city either. So that's different from a view perspective. Saad would later provide camera-work for The Rainbow Boys (1973),Cannonball Fever (1989) and Sleeping Dogs Lie (1998). Robert Folk again composed music. It is weird though that he isn't credited when he was the one who made the theme for the franchise so recognizable. It's hard to say if the tracks are just being recycled even if a lot of it sounds the same. At this point though, hearing the flutes and drums at the beginning is all a fan would need. When the trumpets come in, everything is heroic and proud. No synths in this orchestra and that's okay.

By no means is it a vast improvement from the last entry but it does feel more enjoyable. It still contains continuity problems, unnecessary supporting characters and a major antagonist is barely around for this. Yet the music is still lively, the slapstick is slightly funnier and the main actors use their roles to their advantage.