What a gloriously stupid movie. The Super Cops, an adaptation of a nonfiction book titled The Super Cops: The True Story of the Cops Called Batman and Robin by L.H. Whittemore, follows officers Dave Greenberg (Ron Leibman) and Robert Hantz (David Selby) as they tear through the criminal element of Bedford-Stuyvesant, Brooklyn. At no point does director Gordon Parks go for realism. Greenberg and Hantz, aka Batman and Robin, throw themselves at suspects with abandon and total lack of skill. They yell, flail about, fall, punch, jump, leap, climb, roll, bash, karate chop, kick, knee, shoot their pistols, and look like total idiots doing it. Remember, these guys are supposed to be super cops, but they’re really a pair of clowns.
Their story begins at the police academy. As soon as they get their badges, and before graduating the academy, they spend their off hours busting drug dealers. Because they buck the system every chance they get, the pair end up at the worst precinct in Brooklyn, run by a morose captain desperate for a promotion (Dan Frazer). The two rookie cops pull the same cowboy shenanigans at their new precinct, but the captain sees in their arrest numbers a ticket out of the slums, so he lets them off the leash.
Greenberg and Hantz become well known in the neighborhood for their daring exploits. They wear sneakers instead of black cop shoes to help them bounce around like deranged acrobats, and are apt to drop on top of suspects from the 2nd floor of a building. Half the neighborhood thinks they’re a menace, while half seem to enjoy the show. 
Back at the precinct house, however, other cops are convinced that Greenberg and Hantz are making all these busts to line their pockets with drug money, and the pair come to the attention of Internal Affairs.
Nothing stops them from busting heads, though. The Internal Affairs plot isn’t even much of a threat. Although it comes to a resolution in the end, denouement is treated more as a bow-tying affair rather than what’s in the box.
In many ways, this flick is a version of The French Connection if every scene was the bar shakedown scene on crank. It’s very high energy and silly. At no point does it feel like a convincing or believable story. Nor does it point a critical eye at the two cops at all. It’s an indictment of how minorities are policed, but it doesn’t address the issue to the extent a blaxploitation flick does. It’s a very one-sided portrayal, and one that some of Greenberg and Hantz’s contemporaries don’t support. The way the story is told, and the manic action, makes this movie a hell of a watch, though.
The standout in insanity is Leibman’s Greenberg, and his epic cop moustache. Most of the energy in the movie comes from him. Over and over again I found myself thinking, “This guy’s playing a cop?!” The other cops in the movie hate him and his partner because they’re unorthodox, but maybe they should have looked upon the two as a public menace. Letting these two loose on Bed-Stuy is an unconscionable violation of the public trust. Thank goodness this is just a movie, and a very fun one, at that. The Super Cops is shitty gold, and takes over the #57 spot in The Watchability Index from The Brain.