Red De Corrupción

Anybody should know when you're getting ready to see a Steven Seagal movie you're not getting ready to see a Greek tragedy. What makes "Exit Wounds" special is it's all in good fun. There's no pretentions whatsoever. In fact, it even leaves a good share of the running time for comic relief. You have spectacular action in one corner...you have hilarious comedy in the other...what the hell more can you ask for?

Seagal hasn't made an action flick in a while, so it was great to see him again on the silver screen. He takes a lot of flack for gaining a little weight. OK, so he's heavier than normal. So maybe him and Sammo Hung been hanging out in the same buffet. But Seagal can still kick butt like he did back in "Above the Law" and "Hard to Kill." His action scenes are always fun to watch. As I tell people, I'm not easily aroused by action scenes. I can be just as bored by an action scene as one would get bored during an episode of "Masterpiece Theater." But Seagal's action scenes have a sense of originality and flare. Big deal. He's not the best actor. Does his work require great dramatic acting? Would a dramatic monologue be appropriate during one of HIS movies? Let's be sensible. I think people are way too hard on the man. He's still cool with me.

In the comedy department, we have the uninhibited Tom Arnold. Arnold plays the stereotypical cheesy talk show host, who takes anger-management classes with Seagal. There's a hilarious scene where Seagal loses his temper and throws a fit, yelling to the teacher "I'm a happy person!" with anger in his eyes. Then Arnold decides that Seagal would be a perfect guest for his show. Also, we have Anthony Anderson of "Me Myself and Irene" fame. He was one of the foul-mouthed African-American brothers in the Farrelly Brothers comedy. He gets an even bigger opportunity to flaunt his comic chops in this flick. In fact, him and Tom Arnold have a hysterically funny conversation at the end credits, so PLEASE don't be so quick to walk out the theater.

DMX is not a terrific actor, but he's fairly good. He proves his discipline as an actor in a more restrained role than his starring role in Hype Williams' "Belly." In that film, he pretty much portrayed a character out of all his rap videos. So that wasn't a big stretch. "EW" gives him more to work with. Not the role of a lifetime, but meatier than a drug-dealing "gangsta." And did I mention Jill Hennesy is in the cast? Oh...mannnnn! She is an absolute knockout! Perfect eye candy! Throw in a gratuitous strip club scene(which this film has), and we have the ultimate guy flick.

With DMX in the lead, naturally we have to expect some of his songs on the soundtrack. And he provides some good stuff. One--which was used in the previews and thankfully was used in the movie too--is a remix of "Ain't No Sunshine When She's Gone." It's quite innovative how they insert an artist's songs into a movie's soundtrack. There's also a scene where DMX is picking out a car and blasts on the stereo his song "Why Do Good Girls Love Bad Guys."

There isn't much depth to "Exit Wounds." In fact, I don't know if there's any depth. But a film like this is meant strictly for exhibition. And in that department, it really really delivers! It's exciting! It's funny! It's rousing! It's a thrill a minute! You won't be bored for a second! An hour and thirty minutes of sheer, uninhibited fun! "Exit Wounds" won't have you heading to the exit. In fact, you probably won't even want to go out for popcorn you'll be having such a great time! Strap in!

My score: 7 (out of 10)

For a plot with a lot of potential and decent acting from decent actors, this film could have been much worse. Seagall played his typical role as a tough mouthed and tempered cop who can't comply with authority figures. DMX also stars as a supposed criminal involved in the drug game. I expected how Seagall's part would pan out, however i was surprised on how DMX's presence and acting were not horrendous, though not great. Overall great effects and some fun plot twists Exit Wounds not a bad film to sit down and watch.

Typical Seagal movie. Someone pushes him around and he fights back. Always a good watch. There's a a few cool moves he makes, but don't expect too much from this movie. The plot moves quickly and really isn't that interesting. It's all about the fight scenes.

One thing that really got to me was the movie takes place in Detroit City but there's almost a Canadian landmark in each scene. "Welcome to Detroit AM" [CN tower in the background], Sky dome signs, Canadian food chains and even in the first few scenes there's filming right in front of City landmarks. Why not just say Toronto rather than Detroit?

Pretty straightforward action flick that is absolutely ridiculous and yet I can forgive it. You see there was nothing I loved more as a child than watching the movie heros fight the bad guys and ultimately take them out to restore peace to the free world. However, somewhere in the mid-90's, these kind of films (which I have appropriately labelled "The Big Dumb Action Movies") became a lost art and gave way to newer more complex action thrillers. In some instances this was for the better and in other instances, let's just say you were left longing for the days of old when Johnny Rambo dashed acrossed a battlefield in the jungle with his extra powerful M-60 machine gun and mowed down some Commie scum. One of the men at the frontline of the old action genre movies was Steven Seagal. His older movies were an action fan's wet dream. They had lots of shooting, lots of brutal fight scenes, and the occasional trademark Seagal staredown. Nevermind the fact that the man couldn't act well even if his children were kidnapped and one of the ransom demands from the kidnappers was for not only $5 million dollars but also for Seagal to play at least one scene in a new movie with a different tone of voice and a different facial expression.

But the entertainment was there and when I saw "Exit Wounds," I was automatically thrown back into the mind of a young boy all over again. Here's a movie that gives an old fan of action exactly what they could ever hope for. Lots of martial arts, lots of great shootouts, and over the top stunts (maybe with a little bit of help from those damn cables and CGI but let us ignore this for the time being). This movie is a lot of fun and I was glad to see Seagal make a return to the kind of movie that people actually will pay to see him in, even if this is just a one time deal for the pony tail sporting Aikdo artist. If it is simple minded action you crave, then you can't go wrong with "Exit Wounds," which is really more of a throwback than anything. When you see the legendary action film veteran Bill Duke on the screen with those crazy eyes, you know you're officially watching a "Big Dumb Action Movie."

Despite Fire Down Below being a No. 1 hit in America, it went straight to video here in the UK and killed Seagal's career for four years. But then veteran action producer Joel Silver thrust Steve back in the limelight, put him on the Slimfast diet gave him slightly better material to work with. After all, an actor can only do as good as the script.

From a novel of the same name by John Westerman (but bearing minimal resemblance to it) the plot centers on Orin Boyd, a cop busted down to patrolman after a rough encounter with the Vice-President. Once on the streets Boyd's suspicious nose can't keep him out of trouble with undercover cops who are trying to bust local Drug Boss Latrell Walker…or so it seems.

There are many attempts at irony throughout the movie and surprisingly enough most of them work. Boyd is forced to attend rage control classes in which he meets eccentric TV host Henry Wayne (Tom Arnold) who becomes his wannabe partner. But sadly enough the classes don't work as Boyd continues to uses violence first, ask questions later. And there is a public service announcement too; Seagal survives a car wreck by airbag. A later car crash victim doesn't have one and dies.

Dozens of cop movie clichés staple the flimsy script together. And the bad guys are obvious from the moment they appear on screen. Bartkowiak's direction is better than in his debut Romeo Must Die, and adds a heavy dose of frenetic rush to such a fast-paced film. However the set-up and execution of the story is so dull you'll forget about it half an hour after the credits roll.

Seagal has learned a little, just a little, more in the acting area but still doesn't know how to express himself much. There's too much frowning and not enough other emotions from Boyd. We do want to feel more from him but he won't allow us. I guess this is just how Seagal is. He just can't get away from himself no matter what role he plays. I wish Seagal would try harder, but he just never bothers with making an effort.