1974·Action·1h 53m
7.0
★
Two San Francisco detectives want to bring down a local hijacking boss. But they'll have to get to him before a hitman does.
Directed by Richard Rush
police
san francisco, california
Trailer
IMDB
N/A
Where to Watch
Cast
Alan Arkin
Bean
James Caan
Freebie
Loretta Swit
Meyers' Wife
Jack Kruschen
Red Meyers
Mike Kellin
Lt. Rosen
Paul Koslo
Whitey
Linda Marsh
Freebie's Girl
John Garwood
Chauffeur
Alex Rocco
D.A.
Valerie Harper
Consuelo
Monty Stickles
Texas Brawler
Charles Bail
Cadillac Salesman
Crew
Richard Rush
Director
Dominic Frontiere
Original Music Composer
László Kovács
Director of Photography
Richard Rush
Producer
Anthony Ray
Unit Production Manager
Kenny Endoso
Stunts
Anthony Ray
Associate Producer
Gene LeBell
Stunts
Gray Johnson
Stunts
Charles Bail
Stunt Coordinator
Peaches Jones
Stunts
Eddy Donno
Stunts
Popular Reviews
16 reviews
Koudelka
2.0★ · 06/08/26
I guess you'll like this if you find car pile-ups and gratuitous violence against gendernonconforming characters funny.
I guess you'll like this if you find car pile-ups and gratuitous violence against gendernonconforming characters funny.
Sir Steppa
8.0★ · 11/10/25
Done popped a Bean
Done popped a Bean
Jacob Paddison
5.0★ · 08/11/25
Arguably the first ever true buddy cop flick, Freebie and the Bean is a film that prides itself less on telling a story of two cops trying to solve a case and more on showcasing the gleeful destruction of public and private property — cars either soar through the air or disintegrate upon impact — and no one in the film holds these two up to scrutiny.
San Francisco acts as the playground for the two to demolish their way through and get away with virtually everything in the name of justice. Amoral, violent, bigoted, these cops got it all! In fact there isn't much that really separates the two. There's very little contrast in personalities — they're both loud, brash and argumentative (and boy they love bickering with each other) — and it's that very contrast that makes the buddy cop genre work. Here it's like watching Bad Cop and Slightly Badder Cop get the job (barely) done, and it just doesn't play well, despite the stellar chemistry between James Caan and Alan Arkin.
There's a rough and anarchic feel to the action and a dark sense of humour laced throughout that helps the film stick out just a tad amongst its peers but for the most part Freebie and the Bean aimlessly plods along for a good portion of the runtime, rarely locking into a groove until the hour mark, before losing me when Bean accuses his wife of cheating. And for a comedy, it's not nearly as funny as it thinks it is.
What if Bullitt was written and directed by Shane Black? You might end up with a better version of this.
San Francisco acts as the playground for the two to demolish their way through and get away with virtually everything in the name of justice. Amoral, violent, bigoted, these cops got it all! In fact there isn't much that really separates the two. There's very little contrast in personalities — they're both loud, brash and argumentative (and boy they love bickering with each other) — and it's that very contrast that makes the buddy cop genre work. Here it's like watching Bad Cop and Slightly Badder Cop get the job (barely) done, and it just doesn't play well, despite the stellar chemistry between James Caan and Alan Arkin.
There's a rough and anarchic feel to the action and a dark sense of humour laced throughout that helps the film stick out just a tad amongst its peers but for the most part Freebie and the Bean aimlessly plods along for a good portion of the runtime, rarely locking into a groove until the hour mark, before losing me when Bean accuses his wife of cheating. And for a comedy, it's not nearly as funny as it thinks it is.
What if Bullitt was written and directed by Shane Black? You might end up with a better version of this.
Arguably the first ever true buddy cop flick, Freebie and the Bean is a film that prides itself less on telling a story of two cops trying to solve a case and more on showcasing the gleeful destruction of public and private property — cars either soar through the air or disintegrate upon impact — and no one in the film holds these two up to scrutiny.
San Francisco acts as the playground for the two to demolish their way through and get away with virtually everything in the name of justice. Amoral, violent, bigoted, these cops got it all! In fact there isn't much that really separates the two. There's very little contrast in personalities — they're both loud, brash and argumentative (and boy they love bickering with each other) — and it's that very contrast that makes the buddy cop genre work. Here it's like watching Bad Cop and Slightly Badder Cop get the job (barely) done, and it just doesn't play well, despite the stellar chemistry between James Caan and Alan Arkin.
There's a rough and anarchic feel to the action and a dark sense of humour laced throughout that helps the film stick out just a tad amongst its peers but for the most part Freebie and the Bean aimlessly plods along for a good portion of the runtime, rarely locking into a groove until the hour mark, before losing me when Bean accuses his wife of cheating. And for a comedy, it's not nearly as funny as it thinks it is.
What if Bullitt was written and directed by Shane Black? You might end up with a better version of this.
San Francisco acts as the playground for the two to demolish their way through and get away with virtually everything in the name of justice. Amoral, violent, bigoted, these cops got it all! In fact there isn't much that really separates the two. There's very little contrast in personalities — they're both loud, brash and argumentative (and boy they love bickering with each other) — and it's that very contrast that makes the buddy cop genre work. Here it's like watching Bad Cop and Slightly Badder Cop get the job (barely) done, and it just doesn't play well, despite the stellar chemistry between James Caan and Alan Arkin.
There's a rough and anarchic feel to the action and a dark sense of humour laced throughout that helps the film stick out just a tad amongst its peers but for the most part Freebie and the Bean aimlessly plods along for a good portion of the runtime, rarely locking into a groove until the hour mark, before losing me when Bean accuses his wife of cheating. And for a comedy, it's not nearly as funny as it thinks it is.
What if Bullitt was written and directed by Shane Black? You might end up with a better version of this.
Aaron Townsend
6.0★ · 05/16/24
Another Shaya pick! Another 3 star joint! This was a very mixed bag for me. I know Tarantino loves this movie and it’s a cult buddy cop classic for many but it was pretty dated. Alan Arkin playing a Hispanic man is definitely… a choice made in the 70s. Also the fact that none of the female rolls are named, just x’s boyfriend or x’s husband. It’s almost as if a certain NFL kicker credited their rolls. I did really love seeing San Francisco shot on technicolor. I might be a little biased but San Francisco is one of the most beautiful cities in the world. Seeing the stunning hills and beautiful architecture kept me looking at the screen. The stunts in this are also extremely impressive. Back in the 70s all they could do was use practical effects and they look so much better. They have a real crunch to them that VFX just don’t have. Overall I’m pretty mixed on this. It’s got some really racist jokes. Some people might say oh it’s from the 70s who cares if it’s sexist and racist. Being sexist and racist was still fucking wrong back in the 70s. The casual “faggot” uttered by James Caan really took me out of the movie. Hearing that word come out of a straight man’s mouth really puts me into a defensive state. I wouldn’t call this a classic by any means. Sorry yall. Now it’s my pick up next. What should I put these boys into next? Here’s all our picks in a list
Another Shaya pick! Another 3 star joint! This was a very mixed bag for me. I know Tarantino loves this movie and it’s a cult buddy cop classic for many but it was pretty dated. Alan Arkin playing a Hispanic man is definitely… a choice made in the 70s. Also the fact that none of the female rolls are named, just x’s boyfriend or x’s husband. It’s almost as if a certain NFL kicker credited their rolls. I did really love seeing San Francisco shot on technicolor. I might be a little biased but San Francisco is one of the most beautiful cities in the world. Seeing the stunning hills and beautiful architecture kept me looking at the screen. The stunts in this are also extremely impressive. Back in the 70s all they could do was use practical effects and they look so much better. They have a real crunch to them that VFX just don’t have. Overall I’m pretty mixed on this. It’s got some really racist jokes. Some people might say oh it’s from the 70s who cares if it’s sexist and racist. Being sexist and racist was still fucking wrong back in the 70s. The casual “faggot” uttered by James Caan really took me out of the movie. Hearing that word come out of a straight man’s mouth really puts me into a defensive state. I wouldn’t call this a classic by any means. Sorry yall. Now it’s my pick up next. What should I put these boys into next? Here’s all our picks in a list
Davechild
6.0★ · 11/06/22
I’ve been wanting to see this since I saw the trailer at New Bev years ago. The chemistry between Caan and Arkin is amazing and so is the stunt work and car chases. It could be a masterpiece if it didn’t have the bizarre choice to call Arkin and Rhoda Mexican and fill every other line with racist Mexican jokes. Really sours the whole film.
I’ve been wanting to see this since I saw the trailer at New Bev years ago. The chemistry between Caan and Arkin is amazing and so is the stunt work and car chases. It could be a masterpiece if it didn’t have the bizarre choice to call Arkin and Rhoda Mexican and fill every other line with racist Mexican jokes. Really sours the whole film.