Cop flicks get zany Brit treatment in 'Hot Fuzz'

It's from the same people who delivered 'Shaun of the Dead.'
By ROGER MOORE
ORLANDO SENTINEL
Simon Pegg is the silliest David Caruso since the real one in "Hot Fuzz," an over-the-top Brit-riff on cop movies, cop shows and the "CSI" age we live in. All that's missing are the snappy Ray-Bans, and the snappy, much-mocked one-liners.
Until the third act.
"Fire up the top," he growls, meaning "turn on the lights and siren."
Out come the Ray-Bans, and the Cockney Caruso makes you glad you've never watched "CSI: Miami" with a straight face.
This rude, bodily fluid-spattered romp from the folks who gave us "Shaun of the Dead" is like the Red Bull version of every bad buddy police picture -- a little "Lethal Weapon," a lot of "Bad Boys," and waaaaay too much "Point Break."
Plot
Pegg plays Nicholas Angel, London's super cop, an over-achiever in every corner of the job. He's so good he makes everybody else look bad.
So three levels of supervisors (Martin Freeman, Steve Coogan and Bill Nighy) tell him he's been (A) promoted, and (B) re-assigned, to tiny, sleepy Standford, in Gloucestershire.
It's Live-and-Let Live country, a real Mayberry where the by-the-book Angel fits in like a more lethal Barney Fife. The chief inspector (Jim Broadbent) is quick to remind the lad that "This isn't London," it's "the safest village in the country."
But something's rotten in the town of Standford. "Accidents" keep popping up. And the doltish cops aren't clever enough to see what Angel sees -- that they might not be accidents at all.
Nick Frost of "Shaun of the Dead" is Angel's amiable "inebriate" sidekick, Danny, the Goober who's seen every cop movie ever, and always wanted that "Point Break" experience.
A Who's Who of character actors fill the town -- the menacing Timothy Dalton plays a menacing supermarket owner, Paul Freeman of "Raiders of the Lost Ark" is a priest, Billie Whitelaw of the original "Omen" and scads of '60s movies is a barkeep, and so on.
Pacing
The secret to this movie, as with "Shaun," is pace -- extreme, comic close-ups, sputtered bits of slang, profanity and blurted-out put-downs.
"Oh look, it's Crockett and Tubby."
And don't forget the whiplash-quick cuts. Director Edgar Wright and the producers (Pegg co-wrote it) rarely let the energy flag as this thing sprints towards one obvious conclusion, followed by an outrageous finale that is "Dirty Harry" as it might have been interpreted by Monty Python.
Pegg is the glue that holds all this together. As he was as the title character in "Shaun of the Dead," he is the straight-man in an absurd world, hard-as-nails, uncompromising, virtuous, but wound entirely too tight for most people to tolerate.
Let Frost and the Oscar-winning Broadbent, scenery-chewing ex-James Bond Dalton and assorted other daft village "types" land the laughs. Pegg is that irresistible force bashing against every immovable dolt he meets, often with hilarious results.
And if David Caruso ever thinks of retiring? "CSI: Gloucestershire" kind of rolls off the tongue, doesn't it?