Having witnessed his junkie father killed Russell Stevens grows up to become a policeman and make a difference. When he is offered an undercover job by Gerald Carver he accepts and begins to build a relationship with David Jason in order to get to the main dealers. However as he is forced to deal drugs and kill to keep his cover he finds the lines between cop and criminal being lost – is he a cop pretending to be a dealer or a dealer pretending to be a cop烦忙 Larry (as he was then) Fishburne's first lead role was a typically dark vehicle. The story is the usual one of cop losing himself when undercover, however it manages to be more than that for most of the time. Co-written by Tolkin, who wrote The Player, this naturally has a nice cynical edge to it when it looks at the US's hypocritical approach to drug control and the political links between the street hustlers and the political high rollers who court respectability. The story does eventually settle into a traditional setting but even then it works well as a thriller. The multi-talented Bill Duke directs well with a gritty feel and a few nice touches. However several things are a bit iffy. For most of the film Fishburne's narration/voice over is a bit like a cross between Apocalypse Now and Blade Runner – it comes across as a little too dark and heavy and also explains things like we can't figure it out ourselves. However once you get into the film it's not as big a deal. My main problem lies with the characters. Fishburne is excellent, a real model of underlying anger and violence, Goldblum is good but perhaps a little OTT on the yuppie/violence thing, but there's good support from Smith and Spin City's beautiful (and often underused – but not here) Victoria Dillard. However the two main white characters (Goldblum and Smith) are both smeared with racist insinuations – Smith appears to insult his black officers and doesn't care about the junkies, while Goldblum is fascinated about all things black and talks about them as wild beautiful beasts and loves having sex with "black'. These things aren't a major problem, but with basically only two white characters in it, it's a little worrying that both are given that edge. However these are minor complaints that get lost with a good thriller. Fishburne excels and Duke delivers a story that is a good thriller but also has a jaded, subversive edge.
大名鼎鼎的票房之王威尔·史密斯，在一场内外交困的恐怖旋涡中，找到了一种聪明绝顶的自救方式。本片悬念迭起，情节紧张，动作场面亦控制有度，是已故导演托尼·斯科特的代表作之一。两大奥斯卡影帝强·沃特与吉恩·哈克曼的表演，更让人拜服。 迪恩（威尔.史密斯 Will Smith 饰）是一个家庭生活和美、前途一片光明的黑人执业律师。圣诞节前夕，迪恩遇到了一位久未谋面的朋友。从此，迪恩的生活发生了天翻地覆的变化。 原来这位友人将一张记录了某个位高权重的人谋杀国会议员整个过程的光盘放进了迪恩的袋子！可怜的迪恩在毫不
飞行员迪克斯（约翰•特拉沃塔 John Travolta 饰）和希尔上教（克里斯汀•史莱特 Christian Slater 饰）搭档多年，虽然表现出色，但一直没有获得晋升。心中不服气的迪克斯决定用自己的手段向政府讨回他应得的一切。于是，在一次飞行任务中，迪克斯为了劫持隐形飞机上的两枚核弹，将希尔打出了机舱，幸亏希尔携带有降落伞，才幸免于难。迪克斯取得核弹后，向政府要挟巨额赎金，不然就将在城市中引爆核弹。另一方面，希尔和美丽女警泰丽（萨曼莎•玛西丝 Samantha Mathis 饰）正在极力追寻迪克斯，
简介： Having witnessed his junkie father killed Russell Stevens grows up to become a policeman and make a difference. When he is offered an undercover job by Gerald Carver he accepts and begins to build a relationship with David Jason in order to get to the main dealers. However as he is forced to deal drugs and kill to keep his cover he finds the lines between cop and criminal being lost – is he a cop pretending to be a dealer or a dealer pretending to be a cop烦忙 Larry (as he was then) Fishburne's first lead role was a typically dark vehicle. The story is the usual one of cop losing himself when undercover, however it manages to be more than that for most of the time. Co-written by Tolkin, who wrote The Player, this naturally has a nice cynical edge to it when it looks at the US's hypocritical approach to drug control and the political links between the street hustlers and the political high rollers who court respectability. The story does eventually settle into a traditional setting but even then it works well as a thriller. The multi-talented Bill Duke directs well with a gritty feel and a few nice touches. However several things are a bit iffy. For most of the film Fishburne's narration/voice over is a bit like a cross between Apocalypse Now and Blade Runner – it comes across as a little too dark and heavy and also explains things like we can't figure it out ourselves. However once you get into the film it's not as big a deal. My main problem lies with the characters. Fishburne is excellent, a real model of underlying anger and violence, Goldblum is good but perhaps a little OTT on the yuppie/violence thing, but there's good support from Smith and Spin City's beautiful (and often underused – but not here) Victoria Dillard. However the two main white characters (Goldblum and Smith) are both smeared with racist insinuations – Smith appears to insult his black officers and doesn't care about the junkies, while Goldblum is fascinated about all things black and talks about them as wild beautiful beasts and loves having sex with "black'. These things aren't a major problem, but with basically only two white characters in it, it's a little worrying that both are given that edge. However these are minor complaints that get lost with a good thriller. Fishburne excels and Duke delivers a story that is a good thriller but also has a jaded, subversive edge.
