Having witnessed his junkie father killed Russell Stevens grows up to become a policeman and make a difference. When he is offered an undercover job by Gerald Carver he accepts and begins to build a relationship with David Jason in order to get to the main dealers. However as he is forced to deal drugs and kill to keep his cover he finds the lines between cop and criminal being lost – is he a cop pretending to be a dealer or a dealer pretending to be a cop?Larry (as he was then) Fishburne's first lead role was a typically dark vehicle. The story is the usual one of cop losing himself when undercover, however it manages to be more than that for most of the time. Co-written by Tolkin, who wrote The Player, this naturally has a nice cynical edge to it when it looks at the US's hypocritical approach to drug control and the political links between the street hustlers and the political high rollers who court respectability. The story does eventually settle into a traditional setting but even then it works well as a thriller.The multi-talented Bill Duke directs well with a gritty feel and a few nice touches. However several things are a bit iffy. For most of the film Fishburne's narration/voice over is a bit like a cross between Apocalypse Now and Blade Runner – it comes across as a little too dark and heavy and also explains things like we can't figure it out ourselves. However once you get into the film it's not as big a deal. My main problem lies with the characters.Fishburne is excellent, a real model of underlying anger and violence, Goldblum is good but perhaps a little OTT on the yuppie/violence thing, but there's good support from Smith and Spin City's beautiful (and often underused – but not here) Victoria Dillard. However the two main white characters (Goldblum and Smith) are both smeared with racist insinuations – Smith appears to insult his black officers and doesn't care about the junkies, while Goldblum is fascinated about all things black and talks about them as wild beautiful beasts and loves having sex with "black'. These things aren't a major problem, but with basically only two white characters in it, it's a little worrying that both are given that edge.However these are minor complaints that get lost with a good thriller. Fishburne excels and Duke delivers a story that is a good thriller but also has a jaded, subversive edge.
◎获奖情况
第5届东京国际电影节(1992)
主竞赛单元 最佳影片(提名) 比尔·杜克
谷歌为您翻译：
目睹他的瘾君子父亲杀死拉塞尔史蒂文斯长大成为一名警察并有所作为。当杰拉德·卡佛为他提供一份卧底工作时，他接受并开始与大卫·杰森建立关系，以便接触主要的经销商。然而，当他被迫贩毒和杀人以保住他的掩护时，他发现警察和罪犯之间的界限迷失了——他是假装是毒贩的警察还是假装警察的毒贩？拉里（就像他当时那样） ) 菲什伯恩的第一个主角是一辆典型的黑暗车辆。这个故事是警察在卧底时迷失自我的常见故事，但在大多数情况下，它设法超过了这个故事。由《玩家》(The Player) 的作者托尔金(Tolkin) 合着，当它审视美国虚伪的毒品管制方式以及街头骗子与追求体面的政治豪客之间的政治联系时，这自然具有一种很好的愤世嫉俗的优势。这个故事最终确实融入了一个传统的环境，但即便如此，它还是一部惊悚片。然而，有几件事有点不确定。在电影的大部分时间里，菲什伯恩的旁白/配音有点像现代启示录和银翼杀手之间的交叉——它给人的感觉有点太黑暗和沉重，也解释了我们自己无法弄清楚的事情。然而，一旦你进入电影，这不是什么大不了的事。我的主要问题在于角色。Fishburne 非常出色，是潜在愤怒和暴力的真实模型，Goldblum 不错，但在雅皮士/暴力方面可能有点过头，但 Smith 和 Spin City 的美丽（并且经常未被充分利用）提供了很好的支持¨C 但不在这里）维多利亚迪拉德。然而，两个主要的白人角色（Goldblum 和 Smith）都被抹上了种族主义的暗示——Smith 似乎在侮辱他的黑人军官，并不关心那些瘾君子，而 Goldblum 对所有黑色的东西都很着迷，并说它们是野蛮美丽野兽和喜欢与“黑人”发生性关系。这些事情不是大问题，但基本上只有两个白人角色，有点令人担忧的是，两者都有这种优势。然而，这些都是小抱怨，会迷失方向好的惊悚片。菲什伯恩擅长，杜克提供的故事是一部好的惊悚片，但也有一个乏味的、颠覆性的优势。
发表于 2026-3-16 10:12:01
