This movie is not what you think it is. With a name like White Cop, the mind of the uninitiated can jump to some very heavy conclusions. This film, however, is about as heavy as a blue whale on Mercury; that is, its about a third as heavy as you would think. As Meyers himself said of the film before the premier, "Get ready to feel really weird about white people, masculinity, and the law." In a cinematic landscape dominated by hyper masculine, hyper violent, and hyper sexual renditions of the men of law enforcement, White Cop slams on the brakes and grinds the gears into reverse, flipping these filmic tropes with a result that is painfully hilarious and endearingly awkward. White Cop sits comfortably within, and yet transcends, the genre of campy B-list cop movies. The blatant self awareness of the genera from which it stems, and the films constant hyper simplification and stylization, allows White Cop to hold up a mirror to late 20th century action cinema, albeit a fun house mirror, that throws back a reflection that is both easier and harder to stomach than the genera films to which it pays awkward homage. This film is ludicrous, chunky, and homegrown, incorporating actors across the spectrum of competence, with the result that every scene is an unpredictable escapade of satirical caricatures, affected fisticuffs, and strange accents. Moreover, having been filmed primarily in Chicago, and drawing heavily upon the less cinematically featured aspects of Windy City, White Cop gives you Chicago from the inside out, no Navy Pier but lots of CPD. So if you're into this kind of thing, and you're looking for something to watch with the kids (White Cop features NO PROFANITY, holy sh*t!), see if you can track down a copy of White Cop, it will be well worth your time.