卧龙##;^战警

简介

Having witnes!sed  +.his junkie fa""t<her killed Russel#]!%*l Stevens grows "".up to b"\ecome a<+ policeman#; & and ma.:[ke *.a difference. Wh?</en h`-:e% is@@ offe]re@)d a#"n (#&underc ove^
+r job b @y Geral`d Carver he! ac(cep
-ts and(<; begi$&n\.`s to b
$ui<ld a relationship with David )("J!
ason i%n ord#-,- er to g"+et t'o the main @>deale&<:]r]&%s. Ho<weve"-r +>*as he is (forced to deal d$>``ru%]gs a;nd kill to +(keep hi,;$.s< c^over he finds+ the lines betwee! =n co^p ,and)` cri&@.mi\nal ,being lost – ,is he a c`o _p# pretendi$ng  to >be([ a@ (dealer or a[ d+-[&ealer pretending to be a cop　　Larry (as %
h'e was ) then) Fishburne's, _ +
]first l?^ead -]$role was a ty) pically dark `#vehicle. The story# is the <u#sual one of cop losing hi$
m sel'f when .%un*d-'ercover, however it manages to b([e more\ ` than th@'!at for mo?-
/st of th_;e ti@me. Co]\--written by- To(l(kin, who w--rot-\e T
?`he Play
er, this *(@natu@r'ally ?'has a nice -cy,nical< edge to it when &,it looks at t\he US's hypoc['ri:)&:tic/+!al appr%%oach to!- drug control and the polit$ @ical $"[\lin^'^\ks be# &tween the street  hustlers a'^n,d ,^]^the p!#olitical high rollers who court resp.
!e<:ctability. Th> ?e)] story%" does even@!<tu]all)y s*;
et_,(t`l
e into  a= t?#<r)%aditional setting but eve& ;n then it
._] works w".!ell as a thriller.　　The multi-tal[[_ented Bill Duke direct:s well<([` ?with :?^a g^ritty)\ +feel  and a < few nice touches. #\Howe.ve>r+[
several . t& hings are a bit[/ i?ffy. Fo>]*&r;,( &most of the $;=f.[ilm Fi;`:shburne's narrationvoice:> over "is a bit l^.ik? (e a cross between" "#Apoca$\lypse +Now-+ &_ and% Bla de R?*un;;ner – $it [!comes/ across as 
a l.i(ttle +'to@o dark  and  heavy and also ':expl!ai:""n(',s\ ?things<? like we-? can't f& igure it out ourselves.$= !!%"However once&&( y,,ou get)'] i[*,%nto the film it's not ".
as big-  [*a\// dea._l. My main problem lies with?* the characters"&.　　Fish'(/bu:@\rn+&\%e is excellent, @'&a*?% real model of underlying ang_er and violenc
:e(, Goldblum is good but perhaps a li ttle OTT on the ,yuppieviolence thing,^@']; but there's good s=up>%#>port from S:<&mith % and Spin City's be\autiful (and- oft<_+en_!?^+ u/nder]&@used >– but not her]+:%e).) Victo ' ria ` Dillard. ))How> ever the two main white c+>
*haract.%%ers (Goldb,_,lum! and /@Smi th) are b#
oth sm)\e
ared with racist insi n<[+uations – Smith <,ap=pears
' t?/+/o insult his")\ black officers and d**.oesn't car(\["e ab-`.#ou\t the junkies, while Goldblu'+m is fascinated about all things black and talks *(about t[">hem as wild beauti ^?ful b]]>
easts `and "!&l&oves having/! sex -w]ith *%bla ;;ck'^(. Thes">e t"_hings aren'"-`^t a major ) /_problem,^,*;< but -w:!-ith basically only two white char@acters in it, it's a *.littl*e! wor
 r`&y"`ing[ that-^ both are given that e -d#^$ %g+..\e.　　`
However t-.hes&e a;%,re min(]or compl'aints that*&` -get lost ?#$with a ; good th[#;r`]iller.^&  Fishbu(-'rne exc $'e/ls and Duke d&:+elivers a +.'story t/hat is a)< '
good%& @thriller but also @has>, a jaded, "=s+
ub^ver&,[+siv.e^ )ed/@[ge.