A police sergeant must rally the cops and prisoners together to protect themselves on New Year's Eve, just as corrupt policeman surround the station with the intent of killing all to keep their deception in the ranks.
Jack Mosley, a burnt-out detective, is assigned the unenviable task of transporting a fast-talking convict from jail to a courthouse 16 blocks away. However, along the way he learns that the man is supposed to testify against Mosley's colleagues, and the entire NYPD wants him dead. Mosley must choose between loyalty to his colleagues and protecting the witness, and never has such a short distance seemed so long... Written by
WILHELM SCREAM: Immediately following the bus tire being shot out a Wilhelm Scream can be heard. See more »
When the bus drives down the alley, knocking down air conditioners, one of them falls apart, revealing it to be an empty metal box. See more »
This is Detective Jack Mosley, Shield number 227. I guess this will be my last will and testament. This is for Diane. Now, they're gonna come talk to you and they're gonna tell you things. But what they tell you isn't really what happen. So Diane, I think you should know what really happened. I was trying to do a good thing.
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There are no opening credits save the title "16 BLOCKS". See more »
"Can't Get Enough of Your Love, Babe"
Written and Performed by Barry White
Published by Unichappell Music, Inc. obo Itself and Sa-Vette Music
Courtesy of the Island Def Jam Music Group
Under License from Universal Music Enterprises See more »
some good elements but they fail to fully come together
"16 Blocks" features an aging Bruce Willis as a broken-down, burned out NYPD detective assigned to transport the key witness in a police corruption trial from his jail cell to the courthouse where he is scheduled to testify 16 blocks away. However, something goes terribly awry when the cops who are the targets of his testimony attempt to knock off the witness, forcing Willis and his charge to run for their lives through the crowded streets and deserted back alleys of downtown Manhattan.
"16 Blocks" deserves points for at least attempting to provide a bit more in the way of characterization and theme than we are used to in run-of-the-mill police procedurals, but the film winds up falling flat despite the best of intentions and some first rate performances by Willis and Mos Def as the man whose life Willis feels compelled to protect. For even though the low-keyed approach writer Richard Wenk and director Richard Donner have taken towards the material should have made this a more believable and realistic film than most in its genre, the filmmakers keep undercutting that truth by having the two fleeing gentlemen go through so many hairbreadth escapes that we begin to think that not only are these NYPD officers corrupt but amazingly incompetent as well. Moreover, the schmaltzy, humanity-of-man ending, with its theme of mutually achieved salvation and redemption, comes across as a contrived piece of sentimental uplift that never rings true or convincing.
What's good about the movie is its occasionally witty one liners and the performances by the actors in the two lead roles. Willis, craggy-faced, gimpy and sporting a noticeable middle-age spread, is subtle and subdued in the role of a man who has grown apathetic and cynical over the years, and Mos Def makes a very compelling character out of Eddie Bunker, the criminal-with-a-heart-of-gold who never stops talking, but whose deadpan, singsong delivery endears him to the audience. The actors alone compensate for the underdeveloped script and the overall sense of ennui that permeates the film.
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