This film is that very rare thing - an intelligent movie that deals with lethal violence and the often unexpected repurcussions on those who employ it. The film's central characters are, in fact, anti-heroes. That's putting it mildly. Belushi...
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This film is that very rare thing - an intelligent movie that deals with lethal violence and the often unexpected repurcussions on those who employ it. The film's central characters are, in fact, anti-heroes. That's putting it mildly. Belushi and Shakur are not just corrupt cops, they are essentially a pair of comfort-oriented serial killers. They sell confiscated cocaine to drug-dealers at $10,000 a time, thereafter killing said dealer before returning the merchandise to the locker room. The dead dealer is inevitably written off as a 'gang-related' casualty, unlikely to attract anything like a thorough police investigation. A perfect scam, and how could it ever possibly go wrong? Well, when victim number 10 turns out to be an undercover DEA officer, for a start. With enormous pressure suddenly placed upon their shoulders, the pair frantically search for a likely suspect to pin their own murder on. Unfortunately, all the likeliest prove to have one alibi or another. Finally, in their desperation they are forced to put forward a less-than-likely candidate, in the form of a hardcore wino/alcho-type tramp (well played by Dennis Quaid). Acting upon his alcohol-ravaged mental state, they can, at least, get him to believe that he actually did commit the murder. Once again then, what could possibly go wrong? Well, as their fall-guy prepares to take the rap, he is suddenly revealed to be the presumed-dead heir to a massive fortune. Consequently, a high-grade lawyer (portrayed with the gravitas that only James Earl Jones can bring to bear, with that incredible voice of his) wastes little time in demolishing the case against him. This marks the beginning of the end for the officers. Performance-wise, Belushi is terrific as the thoroughly monstrous half of this unpleasant pair. His amorality is of such magnitude that he can even countenance the incidental release of an evil, psychopathic killer (no, not himself) so long as it doesn't affect him. Or so he thinks.... Shakur steals the film however, because he is given a far more complex, nuanced role to play. Admittedly his character is no hero, yet he nevertheless retains some humanity, enough to be haunted by the carnage he and Belushi have left in their wake. His character is constantly conflicted throughout the film, something Shakur never fails to get across to the viewer. Ultimately, a weakness for gambling is the critical failing that chains him to Belushi's amoral ogre. The films is almost Shakespearian when it comes to the cops' inevitable deaths - each dies as a direct result of their specific weakness. So, for Shakur it is gambling; whilst Belushi meets the consequences of his own amorality in a viciously brilliant ending. And no, the ending is not as implausible as some critics have argued. Of course, there are unlikelihoods, but this is fiction after all. The mawkish sentimentality of Quaid's personal history jars with the rest of the film - perhaps that jail-cell scene would have been better left on the cutting room floor, and another way found to tell that particular story. Overall, regardless of those who differ, this is a tremendous film, qualifying as a flawed masterpiece in my view. Tupac Shakur's acting didn't get any better this either, so a fine tribute to that troubled man - perhaps explaining his aptitude in portraying such a troubled villain.