Metacritic reviews

In its low grade way, this blithely brutal cops and drugs thriller is an efficient hot wire entertainment.

Silver, manages the deft balance of making Seagal seem both genuinely courageous and charmingly blockheaded.

In Seagal's movies, the interesting stuff never derives from what happens, but rather from how it happens. Exit Wounds is certainly one of his best efforts, although the distinction is a dubious one at best.

Its pile-driving succession of set pieces comes at you with numbingly relentless efficiency, presumably in the hope that you won't notice or care how dumb it all is.

It's a pastiche of pulpy elements culled from all the "Dirty Harry" movies you can think of.

This movie, cynically and patronizingly aimed at Seagal's predominantly "urban" audience, is sad, tedious proof that even violent exploitation isn't what it used to be.

The small reward is the cool, confident presence of DMX, who shows signs of being a great leading man. But only in a much smarter, more original movie.

The movie is more or less competent for being what it is. Of course, I could say the same of most brick walls -- but I'd hardly recommend that you pay eight bucks to sit in front of one for two hours.

Viewers who sit through Exit Wounds should at least do themselves the favor of staying for the end credits, which feature some truly funny off-color banter between Anderson and Arnold on the latter's ostensible talkshow.