The significance of this pitch-black mall-cop comedy will likely reside in how future historians view it as a silver-screen expression of today’s angry times. It is not surprising, then, that Hill has vocally noted Scorsese’s Taxi Driver, the sine qua non of angry ’70s cinema, as his primary influence, even though he has had made what is ostensibly a comedy, albeit one that is strange, slightly disconcerting, and at times aggressively insistent in its wince-inducing depiction of thick-headed and fundamentally delusional characters acting out primal violence on everyone around them. A good time it is not, but somehow I don’t think it was ever intended to be. (Hollywood Jewel 16, Waco, TX)