Roper, a hostage negotiator catches a murderous bank robber after a blown heist. The bank robber escapes and immediately goes after the man who put him behind bars. The ending is played out...
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A Florida con man uses the passing of the long time Congressman from his district who he just happens to share a name with, to get elected to his version of paradise, Congress, where the ... See full summary »
Roper, a hostage negotiator catches a murderous bank robber after a blown heist. The bank robber escapes and immediately goes after the man who put him behind bars. The ending is played out with Roper and his partner McCall attempting to rescue Roper's kidnapped girlfriend. A major element in the plot is the relationship between Roper and his girlfriend. Written by
The car being washed in the impound garage is a light blue Cadillac convertible which is the same type of car that Eddie Murphy's character Reggie Hammond rode in in 48 Hours. 48 Hours, like Metro, was set in San Francisco. See more »
The last scene is supposed to be set on Tahiti, but the final shot is on Bora Bora, another island in French Polynesia (Tahiti is the best-known). Tahiti doesn't have any white beaches with palm trees around a blue lagoon. See more »
Scott Roper is a wise cracking hostage negotiator, he is however exceptionally good at his job. After bringing down a particularly nasty bank robber called Michael Korda, he sets about winning his old girlfriend back whilst breaking in a new partner, Kevin McCall. When Korda escapes from prison there is only one thing on his mind, revenge, can Roper outwit Korda once again? And if so, at what cost?
There has always seemed to me to be something of a negative bias towards post 1980s Eddie Murphy (Roper) films, it appears that no matter what, nothing that comes close to his best 80s efforts will ever be deemed worthy. Now I'm not saying that Metro is a world beater, or even close to Beverly Hills Cop and Trading Places, but it's an accomplished thriller with classy bits of Murphy humour thrown in. It also boasts splendid support from Michael Rapaport as Roper's intelligent partner McCall, both men playing off each other to good effect, while Michael Wincott with his gravel voice used to full effect, is impressively devilish as the bad guy of the piece. Let down by a weak female lead in Carmen Ejogo, and certainly the familiarity of the genre loses the film any real sense of impending dread, but for a quick fix of nonsense entertainment on a blustery cold night, it's a more than OK viewing. 6/10
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