Police Academy: Madea’s Pursuit (2026) is a loud, shamelessly silly crossover that knows exactly what it is: pure slapstick nostalgia colliding headfirst with Tyler Perry’s unstoppable comedy icon. This film doesn’t aim for subtlety or reinvention—it aims for maximum chaos, and in that mission, it largely succeeds.
From the opening sequence, the movie leans hard into classic Police Academy energy. Sirens wail, officers trip over themselves, and authority is immediately undermined. Steve Guttenberg slips comfortably back into Carey Mahoney, delivering the same roguish charm that defined the original films. He hasn’t lost a step—if anything, the older Mahoney feels even more at home mocking the system from within.
Then Madea enters, and the movie detonates. Tyler Perry brings full Madea energy—loud, fearless, brutally honest, and utterly uncontrollable. The genius of the crossover lies in the fact that no one tries to “tone her down.” Instead, the Police Academy world bends around her, instantly making the supposedly trained officers feel even more incompetent than usual.
Michael Winslow’s Larvell Jones is a highlight, serving as a perfect comedic counterbalance to Madea. His sound effects escalate into full-blown sonic warfare, especially during chase scenes that feel ripped straight out of 1980s comedy logic. One sequence involving a malfunctioning police drone and Winslow’s mouth alone is worth the ticket.
G.W. Bailey’s Commandant Harris is used effectively, not just as an antagonist, but as a symbol of outdated authority completely outmatched by Madea’s raw force of personality. Their shared “history” becomes a running gag, and every confrontation between them feels like a battle between rigid rules and unapologetic street wisdom.
The action-comedy set pieces are gleefully absurd. Electric scooter chases, mall mayhem, and a climactic showdown at the Blue Oyster Bar bring back the franchise’s signature anything-goes tone. The film understands that physics, realism, and logic have no place here—and that’s exactly why it works.
Tika Sumpter adds welcome grounding to the madness, playing a sharp, modern officer who’s both baffled and secretly impressed by Madea. She serves as the bridge between generations, reacting the way the audience might—half horrified, half amazed.
While the plot itself is thin and mostly an excuse for escalating chaos, the movie wisely doesn’t pretend otherwise. This is a comedy built on personalities, not story structure. When it slows down to insert moments of heart—usually via Madea’s blunt life lessons—they land surprisingly well without overstaying their welcome.
Visually, the film embraces bright colors, exaggerated reactions, and old-school comedic framing. It feels intentionally retro, as if refusing to acknowledge that comedy trends have changed. That stubbornness becomes part of its charm.
In the end, Police Academy: Madea’s Pursuit is exactly what fans of both franchises would hope for: ridiculous, noisy, nostalgic fun. It won’t convert skeptics, but it doesn’t need to. This is a victory lap for slapstick comedy and a reminder that sometimes, the best way to restore order… is to let Madea take over. ⭐
