Mitchell (1975)

Mitchell is the kind of scruffy, hard-nosed ’70s cop movie that feels like it was dragged straight out of a smoky bar and tossed onto the screen—raw, unapologetic, and oddly magnetic. Joe Don Baker commits fully to the title role, giving you an anti-hero with enough stubborn swagger to power the whole film even when the seams show, and the chase-and-bust momentum delivers a few genuinely invigorating bursts of action. Part of the fun is its cult charm: it’s entertaining in earnest, and for many viewers it becomes even more irresistible as a “so bad it’s good” ride, especially if you enjoy watching with a crowd (or with the MST3K lens in mind). It won’t be for anyone craving slick realism or polished storytelling, but if you’re in the mood for a rough-edged time capsule with attitude, Mitchell can be a surprisingly good night at the movies.

Mitchell is clearly aiming for a gritty, street-level cop thriller with a rough-edged anti-hero who plays by his own rules, and on paper that’s a perfectly fine 1970s setup. The problem is the execution: the plot lurches around with flimsy logic, the pacing drags, and the “tough guy” attitude often reads less rebellious and more simply unpleasant to spend time with. If you want tight crime storytelling, charismatic leads, or action that actually builds momentum, this will likely feel like a chore. The main redeeming value is as a time capsule of sleazy-era cop cinema—or as something to watch with a riffing mindset, which is why it’s better known through MST3K than on its own merits.