Tu fais pas le poids, shérif!

... which is when an unexpected hit with a big charismatic star, a simple idea, known supporting stars, and a moderate budget scores big at the box office and even with critics. The urge to make a sequel is irresistible. However, mistakes are made, bunches of cameos are crammed in and gone are the delightful and anonymous extras that made the original seem like an original road picture, there is a need to go to silly and even gross-out jokes, the plot is redundant, and the entire film just seems to scream "Look at us! Aren't we just wonderful in this wonderful film?"...and the answer is "No, you are not".

What makes this not sink below a 4/10 is that Burt and Sally are always good together, Burt is a charismatic film presence even in a bad film, and Jackie Gleason has still got it 25 years after "The Honeymooners" made early TV history.

The original Smokey and the Bandit was a monster of a film, finishing behind only Star Wars at the Box Office in 1977. It was one of the last movies seen by Elvis, who arranged a private viewing due to it's popularity. I myself, barely a teenager, saw it several times in the theater.

Now, when a sequel was announced, we all just knew it would pick up where the first one left off and follow the gang's exploits up to Boston and back to Georgia in 48 hours with clam chowder for the Enoses. But no, the producers and writers chose to create an entirely new exploit, which is basically a rehash of the route traveled in the first, but going in the other direction and pretty much at the speed limit! First off, the Enoses could have hired anyone for a lot less money, as obviously time was not of the essence. Afterall, after they accept the job, considerable time is spent getting the Bandit back into shape! Or did the writers expect us to believe it only took one day? They may have, considering they also threw in a scene where Burt, during his rehab outruns a racehorse. And what were they thinking having Carrie marrying Junior again? Sheriff Justice said at the end of the first he wasn't giving up his pursuit of Bandit, so he didn't need this motivation, again.

So, obviously, instead of a good ole' boy movie like the first, we have a cartoon with humans! See Jackie Gleason utter sombitch 6 dozen times! Hear Dom Deluise spout nonsensical Italian phrases! Watch truckers run over police cruisers with no regards to consequences (like causing lawman's death)! Become aghast at Jerry Reed turning into a tough guy life coach. Experience Burt Reynolds trying to show he has a heart! Look at Sally Field's expression of disdain for her agent! And don't miss the ending blooper reel!

This was the beginning of the end for Burt as he started becoming a caricature of himself. People began to view his movies as just an excuse for Burt and his buddies to get together and party while not having to bother themselves with any strenuous acting.

I know I've mentioned before that I wasn't even going to bother writing a review for this one, but here it is: I've always wanted to like this movie. I really have. Being an enormous fan of the first, and even finding some enjoyment from the third, I still can't say I like this one. I don't know what happened here. Everyone was back, inculding the director, they had the money to back it up, and they still couldn't get it right. What made this film so atrocious? Well, I have to blame it on the writers. I also have to blame the rest of the cast for going along with it. Seriously, when the characters behave NOTHING like they did in the original and the objective is to haul an elephant(!), you know you're in trouble. I cringed every time Frog and the Bandit squabbled and I cringed whenever the Bandit would lose his cool and do something stupid. I mean, what happened to the mild-mannered, likeable, laid-back country boy that we all knew and loved from the first one? Why in the HELL did they have to make him into and alcoholic, washed-up, ego-maniac? I don't know how, but they managed to make him into one of the most unlikeable protagonists in cinematic history. There's even a ridiculous training scene where the Snowman and Frog whip the bandit back into shape to make the big run. I guess it was supposed to be funny. I found it to be a slap in the face. Sometimes Hollywood really has me scatching my head.

Now, for the Justices. Two words: Good grief. They made them even dumber than in the first, and while there are a few funny lines, it goes into overdrive and messes the whole thing up. Another thing, Buford's Canadian cousin (I forget his name) was a disgrace. Was he supposed to be gay? If so, that wasn't funny either.

I guess I've trashed this one enough. On the bright side, there were a few moments that made me giggle, but I can't remember the scenes to save my life. Please, if you consider yourself a fan of the first, avoid this one. Save yourself a lot of disappointment.

OK, I'm kidding. Hey, listen, this film is no strain to the synapses. It's another Hal Needham carwreck fest wrapped up in a really dumb plot that at times tries too hard. However, I find an odd entertainment value in this genus of southern cheese. An aging professional highway show-off, an even more annuated hick sheriff in hot pursuit, an oddly swift and resilient Trans Am, a very talented yet dumbed down leggy sidekick, a country singer turned epitomal southern truck driver, Dom Deluise, and an elephant. Add plenty of incompetent law enforcement officers and marlboro reds and you have the makings of one fine redneck cross-country chase movie. I don't know why but I actually enjoyed this. It's really about the stunts I think and when it comes to Hal Needham you never can have too many car crashes. In the spirit of Cannonball Run and the Dukes of Hazzard there is an odd appeal in watching good IL boys tear up backroads to the tune of Hank Williams and police sirens. And of course there's always a way out leaving a pile of police cruisers in the dust behind. It's an action flick and as such you shouldn't expect it to be anything other than what it is; it's just fun to watch. You may notice it does have some very talented actors so it begs the "what were you thinking doing this film?" question. Perhaps. But on face value it's all about the car chase. And who doesn't love a good car chase?

The original Smokey and the Bandit is a classic, and it introduced us to one of Jackie Gleason's funniest incarnations, Sheriff Buford T. Justice. I've always been of the ilk that tries not to judge sequels on the originals, but in the case of Smokey and the Bandit II it's impossible.

The plot is essentially the same as the first film, with the more politically-correct elephant replacing 400 cases of good ol' Coors, and for a higher stake - $320,000 more than their original run to Texarkana. While Reynolds, Field, Reed et al are entertaining and do the best with a mediocre repeat of the original plot, the true star here is Gleason. Particularly memorable is the scene where Justice and Junior stop for a toilet break and Junior announces after paying a visit, that his zipper is stuck. What happens next is hilarious, and I won't spoil it.

I agree with one of the other reviews in that the original premise of the characters as defined in the original was completely ignored in this sequel, but maybe this was done on purpose. Maybe the writers felt they were giving the characters more depth. This is the downfall of the movie, that and the script...especially the inclusion of brothers Reggie and Gaylord Justice.

Having said that, it's not completely awful. The saving graces are Gleason, Dom DeLuise as the leading gynaecologist (or gornocolagalist as he pronounces it) in Pompeii (population 23) on a sabbatical to the Deep South, and Mike Henry as the long suffering and equally very dim Justice Junior. The latters' performance, while certainly not Shakespeare material, is exactly what is called for - bewildered and confused.

Everyone who was anyone in the country music industry contributed to the soundtrack, including Jerry Reed once again recording the film's theme (a virtual carbon copy of East/West Bound and Down). Brenda Lee and Don Williams make cameos, as do Burt's buddies Joe Klecko, Terry Bradshaw and Messrs Dudley Remus and Hal Carter.

All in all, disappointing and disowned by hardcore fans of the original, but definitely worth a look for Gleason's contributions. They are what keeps the film going when the rest of it is bogged down and turned into a melodrama of sorts, rather than sticking with the winning formula that made the original such a smash and a classic. Beware though, it's nearly destroyed towards the end with the inclusion of his "twin brothers", but that isn't Gleason's fault - blame the scriptwriters and director. Mixed feelings on this one, guys and gals...