Weekly ‘Flix Fix takes the legwork out of wading through thousands of film choices on Netflix, bringing you the most truly bizarre, quirky and outright amazing gems instant streaming has to offer.

When the ruthless Katana gang, a supposed branch of the Yakuza, terrorize Los Angeles, there is only one man fit for the job: a womanizing, loose-cannon cop who plays by his own rules. Also, he is a samurai.

“Samurai Cop” is a movie that simply has to be seen to be believed. At the end of the ’80s, Iranian director Amir Shervan directed three feature-length action films in the span of four years: “Hollywood Cop,” “Samurai Cop” and “Killing American Style.” As you can imagine from the titles alone, they are an outsider’s interpretation of American action movies that were popular.

All the key ingredients are here, too: mullets, explosions, car chases and gracious amounts of softcore pornography. What makes the film so charming, however, are the small details that have been executed so remarkably poorly that the results are some of the most unintentionally hilarious footage in film I have ever seen.

Matt Hannon, who never acted again as far as I am aware, plays Joe Marshall, the titular Samurai Cop. Marshall is a San Francisco police officer reassigned to the LAPD, where he meets Frank (Mark Frazer), who is to be his sidekick on this mission. Frank’s main purpose is to be the brunt of racist jokes and to provide reaction shots while watching Marshall’s raunchy banter with women. Marshall is also, we are told, a trained samurai–the best in America, in fact, and is fluent in Japanese, which is surprising given his difficulty at pronouncing ‘Katana.’ It is impressive how awful the dialogue is.

The film, as you may suspect, did not have a very big budget. The voice-dubbing for all background characters is clearly done by the same person. In addition, for the first half of the film, Hannon’s mullet appears to be all natural, but toward the end of filming he must have shaved it off, as he instead sports a ridiculous wig in the film’s latter scenes which actually falls off a few times.

Shervan’s directorial prowess is demonstrated most effectively in the film’s final battle. Real katana swords are used, but the actors have to make sure to not actually hurt each other, and the end result is an awkward fumble that has been sped up at twice the speed in the editing room. Genius.

With a film called “Samurai Cop,” you know not to expect “Citizen Kane.” The only thing I felt misled by was the film’s tagline: “You have the right to remain silent…dead silent,” as I do not think I have ever laughed so hard at any movie in my life. “Samurai Cop” is everything you could ever want in a bad movie, and then some.