The film opens with a daring escape of a convict imprisoned for killing an FBI agent, then moves on to two Seattle detectives chasing a suspect who gets away, destroying a forklift in the process, these two detectives are reassigned to a stakeout, watching the girlfriend of the escaped federal prisoner. One falls in love with her, the escaped convict eventually catches up to her, with them actually, and in the midst of their getaway, the escaped convict learns that his woman's man is a cop, but the two detectives kill him, saving the day.Written by
One of a number of movies that actor Richard Dreyfuss made at the Walt Disney film studios during the 1980s under the studio's Touchstone Pictures banner. See more »
During the scene where the police chase the bad guys where they're shooting at each other; one of the police officer fires and hits the bad guy's car rear tail light. But in the next scene as the car zooms by both tail lights are perfectly intact. And then in the later scenes the tail light's smashed again. See more »
This is kind of funny and, for the most part, enjoyable. On the surface it looks like another comic cop thriller but, really, the core of the plot couldn't be older. That is -- it goes way past "The Gay Divorcée," past the Greek or Roman from whom Shakespeare stole "A Comedy of Errors," back past the masques, winding up somewhere I would guess around Homo cromagnonsesis in Les Ezyies de Tayac. The mistaken-identity plot is framed by a bit of violence. First, Dreyfus gets into a fist fight with a perp he and Estevez are chasing (Estevez is nothing much more than a straight man in this movie) and the two combatants fall into a huge container of fish and barely escape being filleted by the Chinese workers. The second involves a shoot out between Aidan Quinn's villain and a lot of cop cars and owes a lot to the chase in "Bullitt", although done mostly for laughs. At the end there is another strictly conventional shootout and fist fight, aboard a boat, on top of rolling logs (this is Seattle), and in a timber mill which gives us a good idea of how gigantic saws are used to turn logs into planks -- and men into planks as well, given half a chance.
Quinn is excellent, but so is almost everyone else. Madeleine Stowe is drop-dead gorgeous, with or without Hispanic makeup, and she can act too. Dreyfus is very funny. He is caught in all sorts of embarrassing situations and gets a chance to display that expression of abject humiliation that he does so well. He gets a chance to do a lot of physical comedy too, running around wearing a pink sun hat, wrapped in a shawl, while pursued by the police. And when he inadvertently reveals he is spying on Stowe, during a phone call in which he warns her that her food is burning, she demands to know how he knew. He tears his eyes from the telescope and tells her, "I -- er -- I could hear is sizzling in the background." Then he turns his face to the side, wrinkled with disgust, and hisses to himself -- "Heard it SIZZLING in the background?" There are all sorts of run-ins in which she still thinks he is the phone repairman he's been pretending to be, and they're all engagingly cute.
It's not a masterpiece of comedy, and the realistic violence is out of place. But it's smoothly, professionally done. There is an icky them song, but the composer gives Stowe's scenes a bouncy fingido-sabor-Latino sound. I've seen this a couple of times and keep waiting to be bored by it but have never quite been able to get over the hump.
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