A black uniformed policeman is recruited by a devious drug enforcement agent to infiltrate a smuggling organization seeking to expand into designer drugs. This 'ugly side of the war on ... See full summary »
An American executive living in Europe plots to murder his judgmentally, callous wife, only to get accused of actually murdering her when she disappears after leaving him over his own neurotic behavior.
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Frost is arrested and committed for murder after he is apprehended burying his victims in the garden. However, even while under psychiatric care and tight hospital security, it becomes ... See full summary »
They are married men that are on the DL and pass HIV to their male/ female partners basically. Many of the men hide behind the vow of marriage but still desire men. The women know but have grown accustom to the extravagant lifestyle.
Vivica A. Fox
Hatch Harrison had a traffic accident with his car. At first the doctors said he was dead but then they succeeded to bring him back to life after two hours. But Hatch starts to have strange... See full summary »
A farce, Hoskins plays a photographer who specializes in religious pictures who searches for a model for Jesus. He does a favor for a friend and finds himself doing a voice track for a ... See full summary »
A black uniformed policeman is recruited by a devious drug enforcement agent to infiltrate a smuggling organization seeking to expand into designer drugs. This 'ugly side of the war on drugs' explores the context of race, identity and hypocrisy within a brutal and alienating investigation. Written by
Keith Loh <email@example.com>
One of the pictures on Carver's criminal family tree chart is of director Bill Duke. See more »
When Russel tells David to take the feet off the sofa, he reaches out with his right hand. When the camera changes, he reaches out with his left hand. See more »
What did they do to you?
They taught me what I needed to know: that they don't respect me, that I don't deserve respect.
Oh, David, you've gotta get out of this business. You have a wife and a daughter who love you. I love you. What more do you want?
I want my cake and eat it too. I want my cake and eat it too.
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Intelligent filmmaking that is hard to find in today's films
Deep Cover stands out as a great example of how to make a good film and has something that is often missing from modern cinema. The cinematography, editing, and music are all outstanding. What's even better is how all those elements tie-in to a well thought out and communicated theme of duality. The two main characters Russel/John (Fishburne) and David (Goldblum) parallel each other nicely, and reinforce the theme perfectly.
On the one hand, there's Russel, the cop determined to make a difference in his community who is then taken advantage of by his superiors and used like a tool. Russel begins demonstrating more and more criminal traits as the film goes on, eventually "becoming" his undercover alter ego John. As a criminal, John is able to do exactly what he set out to do, all while commanding respect and receiving tons of money without any of the red tape he had as a cop. In the end, he has to make a choice, cop or criminal. Work with society and be dishonest to yourself, or work outside of society and be dishonest to "the system".
On the other hand, there's David, a lawyer with a nice wife, house, and kid, but also happens to be a major drug dealer. He too must make the same difficult choice, even stating in the film, "I want my cake and eat it too", which truthfully shows that it is a hard decision.
While Deep Cover is labeled by most as a "hood movie", it is quite different in it's themes from most films in that genre. Instead of simply presenting the inner cities' problems, the filmmakers here try to answer the question of why. Why do young people feel the need to become criminals? Perhaps it's because of the bureaucratic nature of a society that turns it's back on those with strong uncompromising individuality coupled with low income. Maybe not. But unlike most films that answer all the questions they present for their audiences, Deep Cover simply asks the questions, and leaves the answers up to its audience.
The filmmaking here is intelligent, the subject matter is interesting, and the audience is treated with an amount of respect that isn't easy to find in modern film. No, the film isn't perfect, but at least in my eyes, it's very close to being so.
9 of 12 people found this review helpful.
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