Exit Wounds is standard action movie stuff with a couple of twists.
Exit Wounds (2001)
Tomatometer
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Reviews Counted:64
Fresh:21
Rotten:43
Average Rating:4.4/10
Consensus: It probably goes without saying that Exit Wounds is loaded with plotholes and bad dialogue. Critics also note that Seagal has aged rather badly.
Rated: R [See Full Rating] for strong violence, language and some sexuality/nudity
Runtime: 1 hr 41 mins
Genre: Action/Adventure
Theatrical Release:Mar 16, 2001 Wide
Box Office: $51,408,486
Synopsis: Detroit cop Orin Byrd (Steven Seagal) plays by his own rules. He knows what's right and what's wrong, and like Clint Eastwood's Harry Callahan, he doesn't mind leaving a little destruction in his... Detroit cop Orin Byrd (Steven Seagal) plays by his own rules. He knows what's right and what's wrong, and like Clint Eastwood's Harry Callahan, he doesn't mind leaving a little destruction in his wake as long as he gets the job done. But after saving the vice president from a militia group in a high-tech bridge battle that features the requisite car explosions and plenty of fancy weaponry, he gets busted down to a low-rent neighborhood where he is soon playing crossing guard. But he has a nose for trouble, so when he begins to suspect that some of the cops in his department are getting down and dirty with drug kingpin Latrell Walker (DMX), he is ready to take action--even if he has to go it alone, against the orders of his commander (Jill Hennessy). Cinematographer-turned-director Andrzej Bartkowiak (ROMEO MUST DIE) shows off his keen eye in EXIT WOUNDS as Seagal and DMX battle it out on the Detroit streets. The pounding hip-hop soundtrack (featuring a number of contributions from DMX and Drag-On, who also appears in the film) and fabulous stunts, keep the excitement moving at a fast pace as the corruption--and the body count--continues to mount. But Anthony Anderson, playing Walker's right-hand man, T.K., nearly walks away with the film, supplying comic relief even through much of the closing credits. [More]
Starring: Steven Seagal, DMX, Isaiah Washington, Tom Arnold
Starring: Steven Seagal, DMX, Isaiah Washington, Tom Arnold, Jill Hennessy, Anthony Anderson, Eva Mendes, Michael Jai White
Director: Andrzej Bartkowiak
Director: Andrzej Bartkowiak
Screenwriter: Ed Horowitz, Richard D'Ovidio
Producer: Joel Silver, Dan Cracchiolo
Studio: Warner Bros.
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Reviews for Exit Wounds
The movie's just an excuse for the entire cast to point guns at each other before engaging in verbal or actual smackery.
The film may offer enough loud mayhem and onscreen activity to prevent a good, ninety-some minute nap, but it's otherwise just another redundant and mediocre film that steadily gets worse the further along it progress.
There's no story here. The film is all about the grisly, electric mayhem that ensues when these two guys hit the streets.
Seagal is a thick, clunky object, and there's little pizzazz in his martial-arts moves.
For those in search of action-filled escapist entertainment who are willing to jettison expectations of credibility into the nearest popcorn tub, Exit Wounds ... will do to pass time on an inclement day.
In fairness, the movie is more or less competent for being what it is. Of course, I could say the same of most brick walls -- but I'd hardly recommend that you pay eight bucks to sit in front of one for two hours.
Exit Wounds suggests that Seagal knows how to keep our eyes glued to the screen, when he puts his mind to it.
Most Steven Seagal flicks -- chock-full of hissing sideways glances, inane dialogue and pointlessly violent shoot-outs--are usually below the law of good cinematic palatability. Exit Wounds is all that and more.
Imitation is the highest form of flattery, but not when it crosses the line into shameless rip-off.
Seagal's resurrection might not last longer than this film, but Wounds manages to be a superior successor to the testosterone flicks of the 1980s.
Exit Wounds is really a succession of street fights, explosions, car chases and helicopter rescues in search of a plot.
Seagal is back again, continuing his dedicated quest to make the most brutal, brain-dead, barbaric movies of all time.
The film does an excellent job of keeping action rolling and interjecting comic relief.
It's not unbearably stupid like some entries in the genre, but neither is it the least bit original or inventive.
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