a5c7b9f00b Orin Boyd (Seagal) is a Detroit cop who doesn't follow rules. After he saved the Vice President by violating every order he received he is transferred to one of the worst precincts in the city. There he quickly encounters some corrupt cops selling heroin to drug dealers. The problem is, it's very difficult to tell who is the bad guy and who you can trust.
Orin Boyd is a cop who works in Detroit's 21st precinct, and his attitude and rough means of enforcing the law always end up annoying the precinct captain, Frank Daniels. When terrorists try to kill the Vice President of the United States, Orin kills the terrorists. Even though Orin saved the Vice President's life, Frank doesn't like the way Orin did it, so Frank transfers Orin to the 15th precinct -- Detroit's worst precinct. Orin's new captain, former internal affairs officer Annette Mulcahy, knows of his reputation and tells him that she won't tolerate it, and she sends Orin to an anger management class where he meets Henry Wayne, the high-strung host of a local talk show called "Detroit AM." Despite this measure, Orin doesn't change his ways of doing his job, and it's not long before he comes across local drug dealer Latrell Walker and his fast-talking sidekick T. K. Johnson doing a shady deal with a man named Matt Montini. After a brief fight, Orin discovers that Montini has been working undercover trying to nail Walker, and Orin messed it up, a point that doesn't sit well with Montini's musclebound partner Useldinger. Not all of the cops of the 15th precinct give Orin a hard time. Sergeant Lewis Strutt steps in to cool things down when Orin gets in a fight with Useldinger, and George Clark is assigned to be Orin's partner. After Orin stumbles upon the theft of $5,000,000 worth of heroin from Piper Tech, a place where evidence is stored, Orin and George begin focusing their efforts on Latrell and T.K., and also Shaun Rollins, a man that Latrell has been visiting at the local jail. Orin asks Henry to do some digging on Latrell's background. What Henry discovers is that Latrell is not a drug dealer. Latrell is a computer expert and billionaire whose real name is Leon Rollins -- he's the brother of Shaun Rollins. Orin confronts Leon, who explains that a group of corrupt cops were in danger of losing one of their drug dealers, so the corrupt cops planted heroin on Shaun, setting Shaun up to take the rap so they wouldn't lose their dealer. Sergeant Lewis Strutt is the leader of the group of corrupt cops, who also include Montini and Useldinger, and Strutt and his gang are the ones who stole the heroin from Piper Tech. Leon and his friend Trish have been videotaping the corruption, hoping that it might help prove Shaun's innocence and get him out of jail. Orin meets with Annette at a parking lot and he gets in Annette's truck and tells Annette what's going on. When Montini and Useldinger and a bunch of their men show up and try to kill Orin and Annette, Annette screeches out of the parking lot with Orin still in her truck. Orin and Annette are chased, and Annette is killed in the chase when her truck slams into the back of a bigger truck, sending her into her windshield. Orin tells Frank that Strutt will be having a meeting at a warehouse in about an hour, to sell the heroin that was stolen from Piper Tech. Strutt plans to try to sell it to Leon and T. K., not knowing that Leon is working against him. Frank promises that he'll be there with some backup. Orin then goes to George's house and tells George what's going on. George agrees to help Orin bring Strutt and his gang down. But it may be someone higher up who is behind the whole thing.
I'd like to look at this flick from two sides. The story, the characters, the twists in the plot - it was really good in my opinion. The second view would be on the action part. I'm afraid that has totally ruined the movie. The car chases were crazy, and there were dozens of bullets fired at Segal from close distance, but magically they always missed him. At the top of all that, there were incredibely ridiculous fighting scenes. To give you a picture - sabres fight or kicking 300 pounds security guy high in the air really make you wonder what kind of genre is the movie you're watching. If all the shooting, fighting scenes and the car chases were made a least little more decently, it would be lots more valuable movie. Overall, although it was watchable, it was also ridiculous.
I never understand why people who have obviously no great interest in action movies like this, and who obviously dislike everything about Steven Seagal, bother to even watch his films, let alone write a totally negative review on such as EXIT WOUNDS which was after all just another Seagal Police actioner - no more no less! One reviewer who shall remain nameless, commented "Id rather watch Fred Astaire dancing than watch Seagal kick people through windows!" Not too many fans of Fred Astaire and Ginger Rogers would BE queueing up for a Steven Seagal film festival I don't imagine. A uniquely idiotic comment - thats much the same as being allergic to chicken and having KFC cater for your 21st!" I have also to point out, that I don't think Seagal DID kick anyone through a window the entire movie!<br/><br/>EXIT WOUNDS is no masterpiece of action, not even in the same ballpark as MARKED FOR DEATH or OUT FOR JUSTICE, but it's still way ahead of the infamous ON DANGEROUS GROUND. Aside from a convoluted (while you're watching it at least) plotline and some unnecessary "padding" in the middle, EXIT WOUNDS has some great action sequences, notably the beginning 12 minutes. The scene further along where the landrover back-ends a parked vehicle, is telescoped killing Ms Hennessy, is I believe one of the better crash effects I have ever seen in a movie. Tom Arnold makes the most of his limited screentime and balances up proceedings quite nicely.<br/><br/>Personally I thought UNDER SIEGE 2 was as good as any of Seagal's films while FIRE DOWN BELOW (a very under-rated little affair) showed a remarkably humane side to Stevo himself.
Viewers who sit through Exit Wounds should at least do themselves the favor of staying for the end credits, which feature some truly funny off-color banter between Anderson and Arnold on the latter's ostensible talkshow.
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