a5c7b9f00b Orin Boyd, a tough cop in an inner-city precinct discovers a web of dirty cops and corruption.
Orin Boyd (Seagal) is a Detroit cop who doesn't follow rules. After he saved the Vice President by violating every order he received he is transferred to one of the worst precincts in the city. There he quickly encounters some corrupt cops selling heroin to drug dealers. The problem is, it's very difficult to tell who is the bad guy and who you can trust.
A list of everything the young film maker needs to please Seagel / DMX / fans of the genre and actors:<br/><br/>1.) Provide a lot of the usual clichés and stereo-types that include a criminal who trying to free one of his partners, the head of the police station who's a jerk and a cop who is assigned to a new police station for not following his orders and nearly risking the life of somebody important.<br/><br/>2.) Provide tons of non-stop, "over-the-top" action sequences that are very unrealistic, will bore non-Seagel fans and is the only reason this film is not at the Razzies.<br/><br/>3.) Provide lots of characters who are vastly unlikeable and have criminal backgrounds.<br/><br/>4.) All the music is Hip-Hop and Rap to accompany the fight scenes and overall, pretty "F.U.B.U.R." nature.<br/><br/>5.) Have the film be directed by Andrez Bartoziak, who is notorious for other badly-done action films knownROMEO MUST DIE, CRADLE 2 THE GRAVE and DOOM.<br/><br/>6.) Have the plot be unoriginal and not even close to thrilling and you have a interesting turkey on your hands.<br/><br/>7.) Last of all, have the end credits consist of Tom Arnold and Anthony Anderson, who are both minor characters in both this and CRADLE 2 THE GRAVE, be joking around crudely.<br/><br/>It will please fans of the actors easily and/or for audiences who don't mind cliché-ridden thrillers that don't require them to think that much.
The director, Andrzej Bartkowiak, will always have a place of honor<br/><br/>in movies for having lit some of Sidney Lumet's best (and<br/><br/>best-looking) movies–notably PRINCE OF THE CITY and THE<br/><br/>VERDICT. I give him lots of respect for his fleet, effective work as<br/><br/>the director of ROMEO MUST DIE, and for his work here too–maybe doubly noble in that Bartkowiak has a real abscess of<br/><br/>a script to work with here. We are asked to believe that DMX (not<br/><br/>sure; think he's a rapper) is not,he seems in the first few<br/><br/>minutes to be, a thug, but instead is an Internet millionaire and<br/><br/>anti-police-brutality activist. (In a recent, other Steven Seagal<br/><br/>movie, we are meant to believe that the great man is a Native<br/><br/>American-simpatico ecologist.) Bartkowiak is smart: he doesn't try<br/><br/>to be John Woo, like most other contemporary action directors–he<br/><br/>tries to be Ringo Lam. And succeeds.<br/><br/>Too bad the script–a sort of hiphop-flavored riff on MAGNUM<br/><br/>FORCE–is so sucky. The movie has a groovy rap-and-house-music soundtrack that amplifies the adrenaline of<br/><br/>every scene it's in, and Bartkowiak stages some neat, kinetic,<br/><br/>grunt-inducing action set pieces. And the thing moves along at a<br/><br/>decent clip. (The producer, Joel Silver, seems to be still following<br/><br/>his eighties "whammy chart.") Butcockamamie, contrivance-riddled, pulled-out-of-one's-rump storytelling goes,<br/><br/>this one seems to have been ghostwritten by Greg Focker.
Silver, manages the deft balance of making Seagal seem both genuinely courageous and charmingly blockheaded.

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