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Even predictable action flicks provide capable escapism. Some of the predictability does not happen because the script needed another rewrite.
I am a Steven Segal fan. My first choice in films is action. “Exit Wounds” did not disappoint me on either count. However, several undeveloped script elements are unprejudiced ploys to introduce characters or transition locations. Many of the problems with the movie belong to the screenwriter or film editor. I would have liked to recognize deleted scenes, which were not included in the DVD special features.
Segal’s fight scenes are not overdone: he goes in, gets the job done without excess violence, and walks away calmly. He could be considered a knight of the round table, a Jedi master, a starship captain, or your average guy with fantastic qualities.
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This movie is action driven, but the intelligence that Segal brings to all of his characters shows through. Detroit cop Orin Boyd is a maverick officer, and his one-man shows frequently rep him into distress. The opening scene depicts him using his gut instinct, which is based in deductive reasoning and observation skills. He sees a cop, with a scraped ear, wearing an earring; the patrolman is one of the entourage who is escorting the Vice President from the podium, where he spoke about gun control, benefit to his hotel. Boyd rescues the VP from an assassination attempt, but instead of gratitude, he is sent from one precinct to another.
Who are these assassins? That inherent put a question to is never answered, though I concept it would be before the movie ended. I behold this as an opening gambit to manufacture the plausible impression that “awful cops” were enthusiastic. However, even scene setting should have a reasonable reply.
Jill Hennesy is the captain of the recent precinct and requires that Boyd befriend a “rage class.” In the class, he meets Tom Arnold, who is the funny relief, and never fails to do his job good. The classroom and meeting were also honest a tool to provide a trusted resource when the investigation of a drug ring left no one to trust. Completely undeveloped is the romance between Hennesy and Segal, though innuendoes and quips pass between the two. A pretty woman and a virile man, obviously attracted to one another, may have added the sparkle that is missing from most action films; it would have been so natural here, and not taken the focus away from the position.
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DMX, like Segal, carries an aura of still assurance. He is dynamic and sexy, and could well be another superstar and box office plan. His character is unexcited, and his reasons for the involvement in the drug investigation are righteous.
Even with the problems, I know I will scrutinize this movie many more times. Therefore, I give it four stars. If you do not like violent, action packed movies with undeveloped script elements, then you might not like this one.
Victoria Tarrani
A lot of you may have considered Steven Seagal’s non-presence for the 4 years before this film a blessing (he last appeared in 1997’s Fire Down Below, which was a No. 1 hit but unexcited used movie) but I mediate that audiences are unbiased too dismissive of him and that he needs to be given another chance. They waited for him to chase up and as soon as he delivered a flop he got called names and we forgot about him. Give the guy a rupture. The Mob is after him! And in true life his Aikido won’t do him any noble in that kind of region.
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With Exit Wounds, traditional action producer Joel Silver had thrust Steve abet in the limelight, save him on the Slimfast diet (it really, really works) and given him better material to work with. After all an actor can only do as salubrious as the script.
From a fresh of the same name by John Westerman (but bearing about 40% resemblance to it) the status centres on Orin Boyd, a cop busted down to Patrolman after a rough encounter with the Vice-President (Gore? Cheney? ) . Once on the streets Boyd’s suspicious nose can’t support him out of exertion with undercover cops who are trying to bust local Drug Boss Latrell Walker (DMX), or so it seems.
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Boyd smells snide play and intrudes upon a stakeout, handcuffing TK (Anthony Anderson), one of Walkers men to the front of his car before doing so. When he returns to acquire the front of his car missing and the thug long gone Boyd takes it upon as his responsibility to win it help and inadvertently show a ring of bad cops in the process. After all his car comes first.
There are many attempts at irony throughout the movie and surprisingly enough most of them work. Boyd is forced to back rage control classes in which he meets eccentric TV host Henry Wayne (Tom Arnold) who becomes his wannabe partner. But sadly enough the classes don’t work as Boyd continues to uses violence first, ask questions later. And there is a public service announcement too. Seagal survives a car smash by airbag. A later car shatter victim doesn’t have one and dies.
There are only a couple of ‘cop movie’ clichés but not considerable else. The terrible guys are glorious stereotyped although they wait on their purpose. And it’s a pity we know who they are as soon as we ogle them, but they were never intended to be aged for suspense in the first area. But they really do stink the status out. You WANT them to die.
Bartkowiak’s direction is better than in his debut Romeo Must Die and adds a heavy dose of frenetic hasten to such a fast-paced film. Action scenes are handled with experience and care. There is no MTV-style editing and no confusion to be had. He should have spent honest a exiguous shrimp bit more time with the characters. It’s not often that action movies have such strong characters and Exit Wounds does give us enough of them.
Seagal had learned a exiguous, unprejudiced a small, more in the acting region but detached doesn’t know how to dispute himself powerful. There’s too grand frowning and not enough other emotions from Boyd. We do want to feel more from him but he won’t allow us. I guess this is unprejudiced how Seagal is. He unprejudiced can’t obtain away from himself too remarkable no matter what role he plays. I wish Seagal would try harder. He’ll derive more fans this procedure. But it’s noble to gawk that he is in better condition than of tedious and has proved to Hollywood that he is serene here and collected frowning. Sadly he has chosen to star in loads of rather dreadful Asian movies since (the real-life Mob forced him into this) and as we all await Under Siege 3 we don’t have our breath.
The DVD is in great-looking 2.35:1 anamorphic widescreen with a gleaming Dolby 5.1 soundtrack. Some fluff extras are included.
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