Thankfully, on the whole, the irksome traces of David Zucker’s political worldview get outpaced by some of the most winning slapstick inanity in American cinema.
The film’s sporadic intensity springs from the filmmaker’s implicative complicity with his main character.
Above all of the more modest achievements in structure and casting looms Zucker’s garish comedic sensibilities.
The films of Frank Tashlin, Jerry Lewis, and Hope and Crosby all worked the same territory, ZAZ just took it as far as it would go without snapping.
Once the film’s fanatics find out that this edition is mostly a gussied-up replay of the previous one, the shit’ll really hit the fan.