Exit Wounds (2001)

Exit Wounds (2001)- * * *

Directed by: Andrzej Bartkowiak

Starring: Steven Seagal, DMX, Tom Arnold, Anthony Anderson, Michael Jai White, Bill Duke, Isiah Washington, Bruce McGill, Jill Hennessy, Drag-On, and Eva Mendes

Orin Boyd (Mr. Seagal) is a Detroit cop who doesn’t play by the rules, is a lone wolf, doesn’t like authority, and all that stuff. Even though his valiant efforts saved the life of the Vice President, because he cut through all the departmental red tape, he must be punished for that. So he gets transferred to a much more “urban” police precinct. While the department is headed by the well-intentioned Annette Mulcahy (Hennessy), Boyd uncovers a cadre of corrupt cops under her command. However, besides putting a stop to the corruption, Boyd has to deal with having to attend anger management classes. It’s here he meets local TV host Henry Wayne (Arnold). Finally, Boyd has to contend with Latrell Walker (DMX) and his partner Trish (Mendes) – not to mention their compatriot T.K. (Anderson) - in the quest for justice. Who will suffer the most EXIT WOUNDS?

Exit Wounds is an enjoyable, fast-paced, and professionally-made Seagal outing. Its mix of action and comedy is palatable, and the production values are high. Sadly, this was one of the last times Seagal would go to the movie theater. Within the next couple of years, he became stranded on DTV island. Since this was before that, the violence never gets too brutal (at least it’s not sadistic) and Seagal even gets to exercise his comic timing. 

Most of the comedy, however, is left to Tom Arnold and Anthony Anderson, with generally good results. After the movie ends, and during the credits, there is a scene with just the two of them riffing off one another, and it’s one of the better scenes in the movie. Director Bartkowiak just sat them in chairs next to each other and let them rip. Smart idea. One of the other strengths of ‘Wounds is its cast. Perhaps realizing that, by 2001, Seagal couldn’t carry a movie all by himself, the movie got loaded up with great people and familiar faces. 

For instance, Boyd, for all intents and purposes, gets both a WYC (White Yelling Chief) AND a BYC (Black Yelling Chief) in the forms of McGill and Duke, respectively. It’s always nice to see them both. And lest we forget DMX, who acquits himself admirably. In many scenes, DMX is onscreen while DMX music is playing in the background. That’s DMX on top of DMX. He even gets to act alongside one of his fellow Ruff Ryders in a few scenes. At least Drag-On got to go to the theater once in his life.

Somehow Jill Hennessy looks better and younger here than she did in Law & Order. And, finally, there’s fan favorite Michael Jai White. The fight between Seagal and White should have been longer and better. That was a minor disappointment, but apparently the fight wasn’t planned and was more or less improvised on the set. Bearing that in mind, it’s not that bad, but it still left something to be desired. 

Bartkowiak also directed the very similar Romeo Must Die (2000) and Cradle 2 the Grave (2003). Though he was born in 1950 in Poland, somehow he really understands the American “urban” experience. Or at least his Hollywood bosses think he does. Perhaps he is just homies with DMX. You gotta love DMX-fu. Bartkowiak keeps things moving well, and while there are some very silly moments during the fight scenes (not the least of which include speed-ups/slow-downs and wirework), all in all it’s pretty enjoyable stuff. The energy level remains high (Tom Arnold alone is like a one-man generator) and the audience remains entertained, and isn’t that the important thing? Plus it has one of the best exploding helicopter scenes we’ve seen to date. 

In the end, Exit Wounds is a career highlight for Seagal. Outside of his initial “three-word” trilogy, this is probably one of his best movies.

Comeuppance Review by: Ty and Brett 

The Last Boy Scout (1991)

The Last Boy Scout (1991)- * * * *

Directed by: Tony Scott

Starring: Bruce Willis, Damon Wayans, Halle Berry, Billy Blanks, Danielle Harris, Bruce McGill, Chelsea Field, Kim Coates, Taylor Negron, and Noble Willingham

Joe Hallenbeck (Willis) is a jaded private detective just trying to keep his family life together when he takes on the case of Cory (Berry), a stripper involved in a blackmail plot. When Cory’s boyfriend Jimmy Dix (Wayans), a former pro-footballer for the L.A. Stallions gets involved, the two unlikely partners become embroiled in a conspiracy that goes…you guessed it, all the way to the top. Along the way, they have to avoid many perilous situations, trouble from goons, and perhaps a surprise appearance from Dick Butkus. Will Joe Hallenbeck truly be THE LAST BOY SCOUT?

Shane Black for President, man. Shane Black for freakin’ President. That pretty much sums up our feelings for this great film, and if you haven’t seen it in a while, we say it’s time to revisit it. We guarantee you won’t be disappointed. The great Mr. Black was the writer behind Lethal Weapon (1987), and here he develops that style even more – it’s cool, it’s funny, it’s tough, it has action, it’s totally entertaining, everything works, and everything ties up beautifully. As a writer of intelligent, masculine movies, Black is the heir apparent to John Milius. We’re happy to give the movie this sort of enthusiastic praise.

It all opens with a slam-bang opening featuring fan favorite Billy Blanks, and never lets up from there. Even the accompanying video/song “Friday Night’s a Great Time for Football” by Bill Medley sets the tone well. Bruce Willis is at his absolute best as the burned-out, grizzled private detective - smoking heavily, spitting out un-PC dialogue, and engaging in the sort of witty repartee you just don’t see in movies anymore. Damon Wayans, also at his best, is “action Wayans”, and we should have seen more of that later in his career. Despite their supposed character flaws, both men remain likable, and the viewer is highly invested in their fate.

While the movie was allegedly beset by production problems and changes, it remains extremely coherent and you’d never know that if you didn’t read about it somewhere. If it’s this good as it is now, one has to wonder would it be as good if there was no studio meddling – or maybe better? We’ll never know, but let’s appreciate what we have. It’s also packed with many familiar names in the supporting cast, and although a lot of action movies feature a daughter, Danielle Harris as Hallenbeck’s daughter Darian has to go on record as the one with the most edge. She has a lot more attitude than the normal tot (she’s 13 in the movie but we tend to call them tots). There’s even a WYC (White Yelling Chief) to top off the overstuffed package of punching, shooting, chasing, blow-ups, plot developments, and clever dialogue.

Sadly, they don’t make movies like this anymore, but at least we have gems like this. What Shane Black has done is essentially fashion a Philip Marlowe or Sam Spade tale, but updated for 1991. The results are stellar, and we strongly recommend The Last Boy Scout, a movie that has proven itself over time to have reached classic status.

Comeuppance Review by: Ty and Brett 

Timecop (1994)

Timecop (1994)- * * * 1\2

Directed by: Peter Hyams

Starring: Jean-Claude Van Damme, Mia Sara, Ron Silver, and Bruce McGill











In the future year of 2004, time travel is possible. But since the future has not happened yet, travelers can only go back in time. Because baddies want to go back in time to commit crimes, a new government agency, the Time Enforcement Commission, is formed to prevent and police criminal actions by people who travel in time. Max Walker (Van Damme) is chosen to be part of the TEC team. But since a bunch of thugs attacked and killed his beloved wife Melissa (Sara), Walker has hit the bottle and is living in the past, lamenting his lost love. But it hasn’t prevented him from being a top timecop, and his incorruptible nature has caught the ire of a very formidable foe, Senator McComb (Silver). 

McComb has his eye on the presidency, and all the millions of dollars it takes to get there, and is willing to do anything to achieve his power-hungry goals. When Fielding (Reuben) enters the picture, things get even more complicated. Can Walker stop McComb, other time-baddies, and possibly even time-rescue his wife in the process? Find out today…

It’s really no surprise as to why Timecop is one of the most popular and well-known Van Damme titles. It’s a completely mainstream, professionally-made product that contains thought-provoking ideas as well as classic Van Damme action scenes. JCVD gets all the best lines (90’s one-liners at their best), and the movie is as solid a piece of entertainment as you’re likely to find. Director Peter Hyams would re-team with Van Damme the next year for Sudden Death (1995), and is the father of John Hyams, who is a brilliant director in his own right, known for working with JCVD in Universal Soldier: Regeneration (2009), Universal Soldier: Day of Reckoning (2012), and Dragon Eyes (2012). So the bloodline continues.

Timecop also qualifies as one of our favorite items, a movie that takes place in the future which is now the past, in this case 2004. Max Walker’s powerful mullet must have been reassuring for viewers in 1994 to see, knowing they would still be fashionable ten years into the future. But were they fashionable in 1994? Regardless, Walker is the type of guy who tells purse-snatchers to read between the lines on his boot, and that’s good enough for us. Of course, Van Damme does more than one split, including one that saves his life, in an attempt to show viewers that they ARE necessary to constantly do, dammit.

This also qualifies as one of many movies in which there are two Van Dammes. As we always say, it must have been in his contract. The great Ron Silver was perfectly cast as the smug politician/baddie (hey, aren’t they one and the same?) His car even has the license plate SENATE, thus broadcasting to the world he’s an evil megalomaniac to be reckoned with. 

Add to Silver and Van Damme the beautiful Mia Sara, some sax on the soundtrack, the time-honored warehouse fight, and the fact that the special effects are all wonderfully pre-CGI, and you have a winner that trumps the lackluster competitor Stargate (1994) in just about every way. And it wouldn’t be a 90’s sci-fi movie without at least a little bit of VR. VR was huge in the 90’s. It found its way into movies like this, which don’t even really deal with VR. In the 90’s, VR was the future.

Also slated to be the future back then were minidisc players, and surely Timecop must be one of the only movies in history to feature one. Speaking of music, songs on the soundtrack include “Does Anybody Really Know What Time It Is” and “Time Won’t Let Me”, in that case covered by The Smithereens, and multiple shots of clocks get the viewers’ minds in the right space to appreciate the time-y goings-on.

In all, Timecop is a very well-written, well-directed, and just all-around well-made film. You’ve probably already seen it, but it certainly stands up to repeated viewings.

Comeuppance Review by: Brett and Ty

Also check out a review by our friends at Action Elite!