Massima copertura

"Politicians like the dark faces (arrested) so they can scare the suburbs into voting Republican."

Laurence Fishburne is wonderful in this. His character's descent into morally grey areas with inevitable complications as he goes undercover was a fine update to film noir, complete with narration. It threatened to unravel in its final half hour (the little boy re-appearing, the preacher cop, just how far the undercover cop takes things, etc), but the grittiness of the drama and the searing points it made about race and the government's duplicity in the war on drugs carried the day. Definitely worth checking out.

This was really a perfect movie for this genre of film. The understated quality acting of Lawrence Fishburne is superb. I really enjoyed seeing the main character's downward spiral. There is excellent character development through the plot which is not the usual cliché. The acting all around is very high caliber, and the tone and pace of the film (directing) is spot on. Highly recommended, highly watchable, one of my top ten favorite films. Films are always better when there is dramatic conflict, and seeing the main character torn apart slowly provides compelling cinema. More films should be made like this! (with less explosions / body counts etc...) As a frame of reference - I am a huge fan of the early James Bond (connery) films, and can't stand the new ones...

Deep Cover stands out as a great example of how to make a good film and has something that is often missing from modern cinema. The cinematography, editing, and music are all outstanding. What's even better is how all those elements tie-in to a well thought out and communicated theme of duality. The two main characters Russel/John (Fishburne) and David (Goldblum) parallel each other nicely, and reinforce the theme perfectly.

On the one hand, there's Russel, the cop determined to make a difference in his community who is then taken advantage of by his superiors and used like a tool. Russel begins demonstrating more and more criminal traits as the film goes on, eventually "becoming" his undercover alter ego John. As a criminal, John is able to do exactly what he set out to do, all while commanding respect and receiving tons of money without any of the red tape he had as a cop. In the end, he has to make a choice, cop or criminal. Work with society and be dishonest to yourself, or work outside of society and be dishonest to "the system".

On the other hand, there's David, a lawyer with a nice wife, house, and kid, but also happens to be a major drug dealer. He too must make the same difficult choice, even stating in the film, "I want my cake and eat it too", which truthfully shows that it is a hard decision.

While Deep Cover is labeled by most as a "hood movie", it is quite different in it's themes from most films in that genre. Instead of simply presenting the inner cities' problems, the filmmakers here try to answer the question of why. Why do young people feel the need to become criminals? Perhaps it's because of the bureaucratic nature of a society that turns it's back on those with strong uncompromising individuality coupled with low income. Maybe not. But unlike most films that answer all the questions they present for their audiences, Deep Cover simply asks the questions, and leaves the answers up to its audience.

The filmmaking here is intelligent, the subject matter is interesting, and the audience is treated with an amount of respect that isn't easy to find in modern film. No, the film isn't perfect, but at least in my eyes, it's very close to being so.

Going into seeing this movie, I wasn't sure about what I was going to see. I was expecting something kind of good (because of Roger Ebert's review), but not great (because of some other reviews). But I was not expecting such a good film. Laurence Fishburne (Boyz in the Hood, What's Love Got To Do With It) stars as a cop who has avoided drugs and the crime life because of his father's involvement and death in it. Soon he is offered a job going undercover as a drug dealer. He accepts it. After a little while he gets himself deep into it. He forms partnerships with high ranked drug dealers, which includes Jeff Goldblum (Jurassic Park, Nine Monthes). Soon he becomes less of an undercover cop, but more of a drug dealer. He soon realizes that he is betraying his cause and joining up with them. This presents a problem for him, because he likes the power as a drug dealer and the money, but he also vowed he would never become like his dad. This is a very well done movie, with a great script. Laurence Fishburne is excellent in the lead role. Jeff Goldblum (who I have never seen in such a deep role) is also strong delivering a surprisingly good performance. A good, but violent film.

Deep Cover is directed by Bill Duke and written by Michael Tolkin and Henry Bean. It stars Larry Fishburne, Jeff Goldblum, Charles Martin Smith, Victoria Dillard and Gregory Sierra. Music is by Michel Colombier and cinematography by Bojan Bazelli.

Traumatised as a youngster by the death of his junkie father, Russell Stevens (Fishburne) becomes a police officer. Passing an interview with DEA Agent Gerald Carver (Smith), Stevens goes undercover to bust a major drug gang that has links to high places. But the closer he gets in with the targets, the deeper he gets involved - emotionally and psychologically.

A splendid slice of gritty neo-noir, Deep Cover follows a classic film noir theme of a man descending into a world he really shouldn't be part of. This is a shifty and grungy Los Angeles, awash with blood money, single parents prepared to sell their kids, where kids in their early teens mule for the dealers and get killed in the process. A place of dimly lighted bars and pool halls, of dank streets and scrap yards, and of course of violence and misery.

The look and tone of the picture is as intense as the characterisations on show. Duke (A Rage in Harlem) knows some tricks to imbue psychological distortion, canted angles, step-print framing, slow angled lensing, jump cuts and sweaty close ups. Bazelli photographs with a deliberate urban feel, making red prominent and black a lurking menace. While the musical accompaniments flit in between hip-hop thunder and jazzy blues lightning.

Fishburne provides a narration that works exceptionally well, harking back to classic noirs of yesteryear. As this grim tale unfolds, his distressingly down-beat tone goes hand in hand with the narrative's sharp edges. The screenplay is always smart and cutting, mixing political hog-wash and social commentary with the harsh realities of lives dominated by drugs - the users - the sellers - the cartel, and the cop going deeper underground...

Great performances from the leading players seal the deal here (Goldblum is not miscast he's the perfect opposite foil for Fishburne's broody fire), and while some clichés are within the play, the production as mounted, with the narrative devices of identification destruction (hello 2 masks) and that violence begets violence, marks this out as one the neo-noir crowd should note down as a must see. 8/10