Joe Hallenbeck is a burned-out detective. Jimmy Dix is an ex-LA Stallions player. Hallenbeck was hired to protect a stripper named Cory. Dix is Cory's boyfriend. When Cory is executed during a drive-by shooting, both Hallenbeck and Dix try to get to the bottom of the case.
When the girl that detective Joe Hallenback is protecting gets murdered, the boyfriend of the murdered girl (ex-football player Jimmy Dix) attempts to investigate and solve the case. What they discover is that there is deep seated corruption going on between a crooked politician and the owner of a pro football team.
The pairing of director Tony Scott (&quot;Top Gun&quot;), producer Joel Silver (&quot;Lethal Weapon&quot; and &quot;Die Hard&quot;, among others), and screenwriter Shane Black (&quot;Lethal Weapon&quot;, &quot;Long Kiss Goodnight&quot;) led to one of the most brutal action films of it&#39;s time. In his review of the film, Roger Ebert gave it three stars, but not without citing it&#39;s misogynistic and degrading qualities. True enough, it&#39;s not a pretty picture: people are beaten, shot, and maimed in all sorts of ways; women are slapped around and degraded; a 13-year old girl cusses, is cussed at, has a gun pointed at her temple by her own father, and is put in the path of thugs.<br/><br/>Despite all that, I enjoy watching the film, but not for any of the above qualities. The movie has an energy and a chemistry between the two leads (Willis and Wayans) that is missing from most action films. Shane Black&#39;s screenplay is full of hilarious gems (see the &quot;Quotes&quot; section.) There&#39;s a freeway scene where our heroes attempt to alert someone of a bomb. Wayans pulls out a pen and paper and draws a picture. Willis replied, &quot;That doesn&#39;t look like a bomb; it looks like an apple with lines coming out of it! They&#39;re gonna say don&#39;t open the briefcase, it&#39;s full of fresh fruit!&quot; Wayans spells out B-O-M, and shows the paper to the person they&#39;re after, only to have the person fire a shot at them. Willis replies, &quot;I meant to tell you: bomb means &#39;f**k you&#39; in Polish.&quot; It&#39;s a scene that represents the comic timing of the film.<br/><br/>Of course, the nastiness of the film is what most remember about it. There&#39;s a good amount of foul language and an even greater amount of graphic violence (the villain meets a really gruesome end.) And of course, women aren&#39;t spared in this one. The relationship between Willis and his estranged wife is one of friction: when he catches his best friend with her, he pulls out a gun and shoots, hitting their wedding photo. And at the end, as the two reunite, he embraces her and whispers profanity in her ear; not the most loving sentiment.<br/><br/>The bottom line: this isn&#39;t really a film for the faint of heart. It&#39;s a rough film, as it almost should be. The easily offended might consider something lighter and fluffier. All others might consider giving this film a shot.
Spoilers herein.<br/><br/>This is of interest for those that study the evolution of the action film, the slipperiest timeclock in popular culture. Here, the old black guy white guy formula is extended with a little self-reference and the introduction of a little noir spice. The heros can&#39;t win: the black guy is an illiterate drugaddicted jock, but it is because of things done to him. The white guy is a crusader for justice who, among other things has a cheating wife. In fact, all his woes are related to sex and power.<br/><br/>The noir/action mix would not last long, with a few experiments using Willis and one interesting one with Mel Gibson. Humor was thought to be the key. Didn&#39;t work.<br/><br/>I find the engineered self-reference most interesting. All these stories are scrupulously studied, and the football stadium element is no accident. It opens and closes the film, bracketing it. The obvious reason is ride the wave of other self-referential films from the period (until now). One man is an observer, one a performer. Each has a female partner that matches, and the little girl is a mix with her puppet.<br/><br/>This sort of thing used to be placed in film stories as a matter of art. Of course no art is intended here, just selling tickets. So what is interesting is that by 1991 at least some powerful studio executives believed that such self-reference had so entered the psyche that it was subliminally natural.<br/><br/>From the director&#39;s perspective, this is just another milestone in Tony Scott&#39;s development into a flashy but empty filmmaker.
Mr. Scott directs the film as if he were trying to win a prize for demolishing a building in record time. The opening is good: stylish video images of a night football game played in a torrential rain, climaxed by the only scene in the film that has legitimate shock. After that, the brutality and the pace don't slacken, but interest does.
When Joe &amp; Jimmy take the bomb from the security detail&#39;s crashed car, they place it on the backseat of their car. Therefore, when the lieutenant opens the trunk of the car at the stadium and takes the case out, it has to be the money - we can only assume that Joe placed it there (offscreen) when he takes it from the car in the swimming pool. Presumably he either also grabs a spare magazine and reloads offscreen or Darien brings an extra box of bullets with her to Jimmy&#39;s car. Alternatively maybe the guy whose car he borrows has a spare box and or he salvages some from Milo&#39;s car.
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