Contentar Best movie of this year hands down!

SparkMore n my opinion it was a great movie with some interesting elements, even though having some plot holes and the ending probably was just too messy and crammed together, but still fun to watch and not your casual movie that is similar to all other ones.

StyleSk8r At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Brennan Camacho Mostly, the movie is committed to the value of a good time.

thinbeach Keaton shorts are often a tale of two halves, as though he came up with two separate ten minute skits, then combined them - and with 'Cops' we have one excellent half followed by one lesser one.Buster does not make a very good businessman. In attempt to prove his value to a girl, he manages to steal money, pay two men for possessions they do not own, before riding a horse and cart into the middle of a police parade and throwing out a lit bomb. All of this happens completely accidentally of course, and up until the bomb incident Buster is looking quite content with his assumed progress. Afterwards an epic chase scene ensues, where he must evade the whole police force.Like all Keaton films this runs at a quick pace, and the first half is very humorous. The second half manages to take one of the most common scenes in silent cinema - the police chase - and blow it up to epic proportions. It is quite possible this was done in parody of the genre, but it is still yet another police chase scene, which, once you've seen numerous already, can become a bit monotonous.

gavin6942 A series of mishaps manages to make a young man get chased by a big city's entire police force.This is not my favorite Keaton film, or even my favorite Keaton short. It is not quite on the level of "One Week", for example. But it still has some of those great physical gags that Keaton was known for (the see-saw on the fence is vintage Keaton).There is some question over whether or not the dynamite is a reference to Harold Lloyd. I have my doubts on that, but who knows? Either way it is interesting to have an anarchist in the plot. Audiences today (2015) may not fully appreciate how ubiquitous stories of anarchists were when this film came out, and it was actually a timely joke.

Horst in Translation (filmreviews@web.de) Buster Keaton has certainly caused a lot of mayhem in his films, but getting the entire police force of a huge city against him is a first, even for him. This is exactly what happens in "Cops", s silent black-and-white comedy film from 1922. At this point, the end of Buster Keaton's short film career wasn't really far anymore and the end of the careers of Joe Roberts and Virginia Fox wasn't too far anymore either. Keaton wrote and directed this film together with Edward F. Cline, his longtime collaborator and Cline, as almost always, plays a minor character in here again as well. The huge star, however, is Keaton again. Sadly, the action and comedy in this film was not great enough to keep me interested. The ending was interesting though as you don't see such that frequently in films, especially back in the 1910s and 1920s, but it certainly added a bit of the "sad" factor to Keaton's movies in general. However, I do not recommend "Cops". I cannot really see why this was inducted in the National Film Registry.

st-shot Buster Keaton packs an awful of laughs into this 18 minute short with some topical and subversive slapstick that at times reaches epic proportion.Buster once again finds himself rejected by a sweetheart who feels it doesn't have the right stuff to be a wealthy businessman. Disconsolately he sulks his way down the street benignly relieves an ungrateful detective of his cash then gets conned into buying someone else's furniture which he puts on horse drawn wagon and rides off with. The worst is yet to come however when he is suspected to be a bomb throwing anarchist attacking a police parade. Keaton eluding a virtual army of pursuing police makes for some of the best slapstick in silent film history. It is the mother of all keystone cop chases as he finds all sorts of ways to elude the waves of blue converging on him. Leading up to the chase there are little gems as well with Keaton and the detective and a concocted Rube Goldberg invention to ward off vicious dogs that instead floors traffic cops.While Cops glowingly achieves what it sets out to do, produce torrents of laughs, it is worth noting how Keaton subversively creates a world of hostility and corruption as an unsentimental backdrop. The ex is an unrepentant social climbing gold digger. The ungrateful detective is coarse and from the look of the roll Keaton relieves him of, on the take. A bomb throwing anarchist ( in an early example of racial profiling a Sacco-Vanzetti look alike), a slick con man, a vicious dog and even Buster himself who in the course of the film builds quite a rap sheet through misunderstanding displays an intolerant, exploitive society that makes Keaton final act in Cops resonate with a comic existential flourish.