卧龙;战警

Having\,, witnesse$d =his junkie,/ fath- er :^kill.ed Ru!ss#,ell Ste;-*ve ns grows up to(; become a policeman and make a d@)ifferenc- \e.$ ;@^Whe
=n he is offe red an unde ,]rcover  job by G+erald Carver *he a %;ccepts and begins t=;o \build a/ r @elations=hip wi=/th David Jason in order _to get to  th[e ]m`ain dealers.^?, *[`(H(.owever@ as\` \ he is forced $to ?%deal: dru:gs an[d ?kill to keep his cover he finds the lines between cop and cr-=im
:inal being ,`?lost –#$ is he a?*_ cop pret( en.
ding to be a dealer;$; or a d%+e. a^;*ler /@pr!+et#ending t o be a cop　　Larry (+as _:-he was then)_? Fi(shbu?`,- rn.e's first \_l?
ead role wa? s a typi/%ca,.\lly dar;k vehicle
!:(. The story is the %^us\ ual one =of: cop lo_sing_/ himself when,._ un=dercover%#,:% however it man_?ages to` b_$e! = more than that for most  -%of the tim)=e. Co-] *written` by* Tolkin, ]*who wr ;ote The ,$(Player,!  this naturally has a(?@ nice c(ynical ed?.[%ge )to i%*^t when it  =l#,;)ooks )at the U+_(S's hypocriti.cal ]$approach to drug co]nt =rol and the: p^#])oli%
tical] links between the street hust!ler $#s and the p?%olitical high .]^%rol#lers who court respec\%\ `t!ability. The s#t%or=!y does^\+ eventual**ly settle into a traditio-$nal?+ settin?%g =-but ?][even(*. the(n% it works
@ w [ell a@s a thrill=^er.　　The m`[ult ,i-_/ t.alented (+%Bi?@(^ll ^Duke directs we(_=ll with a gritty feel and $
a
 few ^n?* -ic !)e t _ouches. H:#owever sev\ e ral thing.`s are a bit iffy. ^ For m\%*os^,*t of the film F +is -=hburne's nar`_ra[[t](ionvoi^\ce over is $\a bit like a cro**ss between Apocalypse Now
;and Blade ]R,*#unner – it comes ac ro^[ss as a little% too d/@ark an[d he`
]:avy and also !explains thin,`gs%*= like =:?we;, ca,%n .'t figure \it\$$ out ourse(:[$l`_ves. Howeve(:](r o/^nce y ` ou ge)^%t into@? ^+th\ e film! it's not a$s ,bi$g a deal.: My main# problem lies with?- the characters.　　F+*ishburn e is*+. `,-exce?*llent, a ]!@r/*[eal model `\+of!% und
-_er\lying anger an
d
 $vi o]`lence, :.Goldblum is good bu,]t perhaps a l]
ittle OTT on the yu ppiev=/iolence t\hing, but ther_e's good support 
from Smith^
$ and Spin Cit]$y' %s be()autifu!:l$@ (and oft-en underused –(*^ bu_t no=$t here) Victoria Dilla) rd. However% t#.)he two #main whi*`$ t $e* [ characters (Go+ldbl$_,um an@]d Smith) are both sme.ared with racis=t^] insinu:ations – Smith ap#+p+ears to:; in?sult his bl ack[ offic\^ers and`$,%* _+/doesn't+ care ][a@b=out t%he j;%unki,es, [ ,#while!\] Goldblum  \ is fascinated about all thin/\/gs black a( n@d talks about t-*
:hem as wild@ beaut:/@iful beasts and loves/$ h+;-av+[.in/+ g sex with black'. These things ar*en't a -%major pro_=#blem, bu\t with:+ ba sic[+ally only t: )wo white] characters in it, it's a lit tle worr_y!ing t;hat bo ( th are given /?t]$:=*hat# \%edge.　　H=/@owever these are minor% comp[laints th@,`
at get, lost wi+th a g *@ood t^+hril\[ler. --(Fishburne;, exc, ,e %ls and !:: Du*ke deliv-ers a story ):tha-t_) is a good thrill$=/e;r but also has a jaded, subversive e.:*dge.