Adeel Hail Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

Ginger Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

Logan By the time the dramatic fireworks start popping off, each one feels earned.

Walter Sloane Mostly, the movie is committed to the value of a good time.

ksf-2 Things that aren't around any more... ethnic slurs (even the title is an insult!) and... old scenes of san francisco. The 1989 earthquake knocked down the embarcadero highway, which is featured several times in this fun throwback. James Caan and Alan Arkin are partners in this amateur hour detective work film... clearly setting Arkin up for "The In-Laws", with Peter Falk. The GOOD version, from 1979. Arkin plays the nervous partner, who doesn't appreciate the constant, nutty antics of his partner; SO similar to his role in The In-Laws. It's also kind of funny to hear Rhoda (Valerie Harper!) speaking bent español. so mean to the LGBT character. and Loretta Swit is in here as the wife of the mafia boss. Director Richard Rush only did a couple more after this one. It's pretty fun. Funny, without trying to be funny. Pretty good. It IS available on dvd, but it's so politically incorrect, you probably WON'T find it on any cable channel. Lot's of car smash-ups and physical humor, but there's enough verbal banter to keep it entertaining.

Prismark10 I remember watching Freebie and the Bean as a kid and I even remember the short lived television series and I found the film to be enjoyable. I can recall a climactic scene when one of the cops takes on a kung fu kicking cross-dresser. However in later years I came across some extremely negative reviews and decided to re-watch this film after a few decades.This is a freewheeling film that is a sort of a cross between of MASH and Dirty Harry. James Caan and Alan Arkin play two off beat San Francisco cops trying to take down local crime boss Red Meyer who his also being targeted by a hit-man. In the opening scenes we see them emptying his trash into their car boot to look for evidence.As the story goes on the plot meanders, at one point we have prolonged scenes where Arkin accuses his wife of cheating on him at other times the story is confusing. The film is an early example of the buddy cop film and also has high levels of gun toting violence, police brutality and zany car chases which must have inspired The Blues Brothers.I still enjoy some surreal elements of the film such as the scenes Caan and Arkin have with Alex Rocco in his office and the anarchic style is enjoyable to an extent but too often it descends into silliness at the expense of plot development.However one thing noticeable was the amount of shootings in this film. These two guys make Dirty Harry look like a pacifist. They just brandish their weapons with no regard to the term reasonable force and at times so many ordinary members of the public are put into danger when they are about.The other issue is the casual racism, homophobia and sexism in this film. I understand the film is of its time so certain derogatory terms are expected but did actress Valerie Harper really had to be listed as 'Beans Wife' in the title credits? Harper plays a hispanic character who is made to look rather brown faced. Then again Arkin is as convincing as a Mexican origin cop as Charlton Heston was in Touch of evil. The blame for all this has to be laid at director Richard Rush to be so behind the curve.Still the film is fun, Arkin and Caan make a good team and have some good banter. It is actually Arkin who is unpredictable even though he is more cautious compared to the gung ho Caan.However the similar themed Busting that came out at the same time, which starred Elliot Gould and Robert Blake now looks like to be the better film.

PeterMitchell-506-564364 Although it's story is a letdown, Caan and Arkin' make a great teaming of "throw the book out the window cops", I'm prepared to forgive this. They're two of the most unruly cops I've ever seen. They're methods of questioning are mostly exorcised by physical violence and threats of intimidation. They total three squad cars in three days, would you believe, one of the cars going off a speed ramp and crashing through a wall of a elderly couples home is a classic. The couple, sitting up in bed, sharing milk and cookies, just have stunned looks. These cops are tailing this old codger, who's involved in racketeering, where there's a good chance he's gonna be hijacked. This leads us to wonder why our dynamic duo are so wasting their time on this clown. They even trawl threw a boot of garbage, fishing out a list, they present to their superior, who tells them "They're not fit to guard the fish at the aquarium". This movie works, thanks to Caan, and especially Arkin, who I loved in this. One interrogation scene, involving a gay guy in a bath, was funny too, wanting the two to rough him up, where Caan says "Let's get out of here before this freak starts drinking the bathwater". Valerie (Rhoda) Harper lends great support as Arkin's wife, while Loretta "Hot lips Hoolahan" Swit pops up as the old codger's mistress. I love this movie every time I watch it. It one of those rare buddy cop movie's where, the cops are so out of line, it's not funny. Sometimes they are like kids, causing an ambulance to topple over at it's end, or chasing each other through a playground while on surveillance of that joker. Don't miss this opportunity view.

rhinocerosfive-1 For what it is - a cop buddy movie - FREEBIE AND THE BEAN is the paragon. Violent action, high comedy, low humor, more car wrecks than a weekend with the Lohans, and something rare in any genre: two hours of genuine sympathy between grown men. Plus Alex Rocco. Alan Arkin and James Caan play cops in love, an un-ironic friendship displayed with banter and charisma. Mutual appreciation and respect is palpable in every scene. (This is even more impressive in light of Alan Arkin's public denigration of working with Richard Rush and this particular film-making experience generally.) They are aided by a Laurel & Hardy-meet-Lenny Bruce sensibility in the script and direction, which demands the extent of their abilities at the height of their powers. Gifted comedians both, Arkin and Caan invest the technical stuff - timing, delivery, physicality - with real emotion. It doesn't hurt that Robert Kaufman and Floyd Mutrux have given them wonderful things to say, and wonderful situations in which to say them. Richard Rush uses a lot of carnival music, and this is not his only evidence of carny taste. He likes to titillate, shock and amaze. That's all fine, as far as entertainment goes, but Rush has aspirations. Throughout his career he's made gestures to the absurd and surreal, with mixed results. His movies often seem giddy, his hand showing on purpose, pawing in self-reflexive gesture. This kind of trapeze act doesn't always work. THE STUNTMAN, for all its many virtues, does not pull off 100% of the tricks up its sleeve. Fellini and Fosse had a surer hand for that sort of detail. This movie aims lower and succeeds at just about every level, though careening on two wheels. The whole film feels just on the edge of out-of-control: the plot, the story, the action, all strain credibility. The cops kill people, destroy public and private property, bicker, donnybrook; the robbers preen, prance and pratfall. The jokes and the violence push the limits of good taste. And the guy on that trials bike isn't even trying to look like James Caan. But it's all part of the cuckoo world of Me Generation Hollywood, show biz kids drunk with power and roaring for approval. You can almost catch a buzz off all the cocaine blowing around the post-hippie pre-yuppie San Francisco set.