Film
Police Academy 2: Their First Assignment
- Comedy
- Police procedural
- Light-hearted
A ragtag squad of academy graduates gets their first beat in a crime-ridden neighborhood. It's bright, silly, and stuffed with impressions—Michael Winslow makes noises; everyone else makes chaos. Pure '80s comfort food for anyone who wants laughs without thinking, and zero interest in realism.
If you liked this
Stripes1981
Same era, same energy: misfits bumble through military training while Bill Murray deadpans his way to immortality. Gags land fast and the affection for its idiots is genuine.
But The improv can get shapeless, and it assumes you find the Army funny in a way that feels dated.

Trading Places1983
Eddie Murphy and Dan Aykroyd trade lives in a con comedy that actually has plot underneath the laughs. Smart, gorgeous to look at, and Murphy's charm is irresistible.
But It's much slicker and more ambitious—if you came for slapstick and fart jokes, the satire might feel like homework.

Police Academy1984
The original. Mahoney's introduction, the whole squad's assembly, the no-rules chaos that made this franchise possible. Everything that works here started there.
But It's essentially the same film again, just fresher. If you've seen this one, the sequel is a victory lap, not a journey.

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The wildcard
Something you would not have found on your own.
Reno 911!2003
Both are ensemble comedies built on character types performing loudly for each other, but Reno 911! strips away the warmth and makes incompetence a documentary fact.
A mockumentary about incompetent deputies in Nevada. Same DNA as Police Academy—misfits, impressions, loud stupidity—but filtered through a deadpan mockumentary lens that makes the chaos feel real.
But The humor is meaner and the format is flatter. No music swells, no warm moments. If you love the characters in Police Academy, these ones will feel like creatures in a lab.

More like this (8)
Beverly Hills Cop1984
Eddie Murphy in Detroit and Beverly Hills, blending fish-out-of-water comedy with real stakes and an actual mystery. Funny, fast, and it treats its audience like adults.
But It's a genuine action film underneath—if you want pure comedy with no dramatic bones, you'll feel the tonal whiplash.

Coming to America1988
Eddie Murphy again, but as a fish-out-of-water prince in New York. Costumes, impressions, heart, and a script that earns its runtime by actually giving you a romance to care about.
But It's long for a comedy and leans hard on warmth over chaos. The broad humor gets blunt.

Ghostbusters II1989
The Ghostbusters back together five years later, older but no wiser, cleaning the same mess. It's silly, it's fun, and it doesn't pretend to be anything but a toy commercial.
But It's visibly bloated and cynical compared to the original—made because people paid for the first one, and it knows it.

Spies Like Us1985
Chevy Chase and Dan Aykroyd as bumbling CIA agents stumbling into real danger. Fast, crowded with jokes and cameos, genuinely dumb in a way that feels intentional.
But The '80s MTV pacing means gags land and vanish—you need to stay alert or you'll miss half the comedy entirely.

3 Men and a Baby1987
Three confirmed bachelors raise an infant. It's a high-concept sitcom premise stretched to feature length, warm and silly without ever getting sentimental.
But The heart takes over by the end. If you want jokes, the final act pivots to earnestness that some find treacly.

Dragnet1987
Dan Aykroyd as a straight-faced cop with Tom Hanks as his wiseass partner. It's a parody of a TV show that already was half-parody, endlessly weird and committed to the bit.
But The joke is extremely narrow—if the *Dragnet* reference doesn't land, you're stranded. It's also genuinely strange in ways comedy usually avoids.

Looking for Mr. Goodbar1977
Both are set in the same era and city (New York, late '70s-early '80s), but where Police Academy finds chaos comic, this one finds it catastrophic. A portrait of the same streets from the other side.
Diane Keaton in a dark, gritty drama about loneliness and sexual autonomy in the city. It's a masterpiece about urban alienation and the cost of invisible lives.
But It's a rape-murder tragedy. The tone is completely serious, the ending is unbearable, and it's nothing like the cheerful idiocy you came for.

The Adventures of Puss in Boots2015
Same core appeal—an ensemble of misfits making noise and being lovable through sheer commitment—but filtered through a different era and format, with better writing underneath the chaos.
An animated series where a swashbuckling cat solves problems with charm and violence. Genuinely funny, fast-paced, and full of impressions and physical comedy—but it's actually well-written and has actual stakes.
But It's animated and cartoonish, which might feel like a step down from live-action. Also, it's unexpectedly smart—if you wanted pure dumb fun, the plotting will get in the way.

People
Cast
Steve GuttenbergCarey Mahoney
Bubba SmithMoses Hightower
David GrafTackleberry
Michael WinslowLarvell Jones
Bruce MahlerDoug Fackler
Marion RamseyLaverne Hooks
Colleen CampKirkland
Howard HessemanPete Lassard
Art MetranoLieutenant Mauser
George GaynesCommandant Lassard
Julie BrownChloe
Directing
- James SignorelliCo-Director
- Jerry ParisDirector
- Donald HeitzerFirst Assistant Director
- Roger Joseph PuglieseFirst Assistant Director
- Ray QuirozScript Supervisor
- Jeff StolowSecond Assistant Director
- Sandra M. MiddletonSecond Assistant Director
Writing
- Neal IsraelCharacters
- Pat ProftCharacters
- Barry W. BlausteinWriter
- David SheffieldWriter
Production
- Kelliann LaddAssociate Producer
- Kevin JonesAssociate Producer
- Uriy KuztnetsovAssociate Producer
- Fern ChampionCasting
- Pamela BaskerCasting
- Leonard C. KrollCo-Producer
- John GoldwynExecutive Producer
- Kenneth E. FixLocation Manager
- Richard RosenbergLocation Manager
- Paul MaslanskyProducer
- Sasha MaslanskyProduction Assistant
- Sascha SchneiderProduction Manager
- Susan RoetherProduction Secretary
- Patricia JohnsonPublicist