Exit Wounds review

Just when Hollywood and audiences were beginning to forget about Steven Seagal, along comes Exit Wounds and resurrects his career. A number one box office hit in America, the film is further proof of the dispiriting vogue for spectacle over substance.

Hard-drinking, maverick Detroit police detective Orin Boyd (Seagal) transfers to the city's toughest precinct as punishment for his anti-authoritarian, take-no-prisoners attitude. His new commander, Annette Mulcahy (Hennessy), assigns him all the worst jobs to tame that legendary wildman temperament.

Unfortunately, Orin refuses to tow the line and uncovers evidence that some of his colleagues (not to mention his superiors) may be on the make. Determined to uphold the law (regardless of the consequences), Orin joins forces with wealthy crime lord Latrell Walker (DMX) to bring an end to the corruption. The other cops at the precinct do not take Orin's interference lightly and set out to silence him at all costs.

Andrzej Bartkowiak directs Exit Wounds with the same breathless enthusiasm as his previous film, Romeo Must Die. If there's the slightest possibility of an explosion, or upping the body count, you can be sure Bartkowiak will take it. He has a certain flair for outrageous stunts and action sequences, but the manic editing ruins every big set piece.

At times, the screen is just a blur of flailing limbs - distinguishing Seagal from the bad guys is almost impossible.The Matrix-style, gravity-defying skirmishes are becoming very tired now, and it wouldn't harm the running time if the fights took place in real time rather than slow motion.

Seagal still can't act (no surprises there) but looks quite imposing and he performs some nifty martial arts moves. Plotting is minimal, with a couple of minor twists shoehorned amid the carnage.

Exit Wounds should play well to the Friday night multiplex crowd. If you go in expecting nothing, you may be pleasantly surprised.