Some things I liked some I did not.

i know i wasted 90 mins of my life.

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

Close shines in drama with strong language, adult themes.

Rock Keats (Damon Wayans) and Archie Moses (Adam Sandler) are petty criminals and best friends. It turns out that Keats is undercover cop Jack Carter working for a year to take down crime boss Frank Coltan (James Caan). The big arrest doesn't go as plan. Jack gets discovered and Moses accidentally shots him during the escape. It's a big bust but Coltan is not part of it. Now Coltan is after Moses for revenge. Moses gets arrested and agrees to testify against Coltan. Jack and Archie are not happy with each other but are forced to work together when Coltan's men come after them.This is trying to be 48 Hrs. with Wayans and Sandler. On the face of it, this should work. They are good comedians at the height of their popularity. Sandler is wisecracking while Wayans is being as angry as possible. It doesn't work. I actually like it at the beginning when Wayans and Sandler are buddies together. The bar fight is great and loads of fun. Everything after that is an unlikeable mess. I don't like angry Wayans and Sandler gets more annoying as the movie goes on. The characters don't like each other and I don't like them together.

Is Adam Sandler in an action movie? Was no one else available? Was he your first choice? On purpose? Is Damon Wayans an action star? Are you sure? Substance abuse can destroy a person's life, did they know that when they made this movie? I like to think about all of the States of the Union this movie wasn't filmed in, like for instance Mississippi, Florida, Wisconsin, Delaware, Kentucky, North Dakota, Ohio.... Most of this movie was made on a sound stage on some movie studio's property. Wealth and power collude to enshrine mediocrity, that's what are lives are sucked into, the sewer storm drain of society. The good news is at some point in time all of us will be forever dead.

Watching the new disposable Ernest Dickerson action-comedy "Bulletproof," a cops and robbers buddy picture with Damon Wayans and Adam Sandler as the buds, is like munching great junk food. You know it isn't what you should be eating. Nevertheless, it smells delicious and makes you smack your lips together when you chew. The action scenes, when the bad guys (sometimes even the good guys) get the cream puffs kicked out of them, contain a lot of crunch. The crude-oil "Saturday Night Live" comic scenes, which only anal retentive Neanderthals would savor as instructive, are uproariously self-effacing. Serious film genre scholars may give an appreciative nod to "Bulletproof" simply because it triggers happier memories from classic action pictures, such as Clint Eastwood's "The Gauntlet" (1977), Sam Peckinpah's "The Killer Elite" (1974), and the 1958 Tony Curtis & Sidney Poitier version of "The Defiant Ones." Nobody but the average moviegoers who really knows the two perquisite words in movie-going—fun and fake—will truly appreciate this potboiler of a melodrama, with comedy tosses in a spice, for what it aspires to be.The corpses pile up as fast as the clichés in the derivative Joe Gayton and Lewis Colick screenplay. As Detective Keats, Damon Wayans is cast as an undercover cop who convinces Moses (Adam Sandler's dopey but likable criminal blunder brain) that he is his best friend. The trouble begins when Keats bonds a little too well with Moses. Keats feels personally committed to bringing Moses in alive and well. When they try to reel in the kingpin mobster, a wealthy used car salesman played with gleeful abandon by James Caan of "The Godfather." Keats concerns himself more Moses' welfare than the bust. In a weird "Pulp Fiction" torque of events, Moses shoots Keats in the head but neither kills nor cripples him.Moses freaks out, leaves for Mexico, with his pooch (one of those magpie-looking Spuds McKenzie types) to become a bullfighter. The law catches up with Moses, and he agrees to testify against his boss (James Caan) on the condition that Keats serve as his bodyguard. Although Damon Wayans is a truly gifted comic, he could take lessons from his brother Keenen Ivory about playing beefy, tough-guys. Damon acts more like his "Major Payne" character here when he should have used his rugged quarterback hero from "The Last Boy Scout." He is a cheese cake action hero here. But it is fun to watch the antics of Wayans and Sandler (a foul-mouthed, 1950s' era Jerry Lewis wannabe) as they blunder through a series of impossible obstacles. The filmmakers serve up seemingly non-stop action like a Saturday Morning television cartoon. They plunge our bulletproof heroes into several unreal but really predictable predicaments. Eventually, the action brings our buddies to the big shoot'em up in James Caan's palatial residence and at least one surprise. If you figure out that surprise before the Dickerson and company reveal it, you have obviously gone into the wrong theater."Juice" director Dickerson got his start as a cinematographer for Spike Lee in epics such as "Do The Right Thing," makes "Bulletproof" look more visually slick and sophisticate than it deserves to be considering how imitative it remains. Each shot contains imaginative compositional elements that you won't be able to savor on a small screen. The lighting is extremely well-done. Actor James Farentino, who plays Wayan's sinister police department superior, is lighted so evocatively that he appears suspicious.Dickerson's big problem here is that the headlong action must break intermittently at all comedy stops. "Bulletproof" employs comedy to insulate its audiences from the effect of thinking too much about the wildly improbable scenes of simulated violence that recur throughout the film. After somebody gets iced, a joke is delivered to make you forget that they've been killed or, in the case of our heroes, escaped certain death.James Caan indulges himself as the used car salesman drug lord. In one scene, he removes his toupee so it won't get dirty during a showdown with Wayans. Caan gives his villainy the appropriate inflection for the kind of hokum that pads out "Bulletproof." He is nowhere near the bastard that he was in the Arnold Schwarzenegger thriller "Eraser." The usual quota of souped-up car chases, gunfights, and four-letter oaths ought to delight hardcore action fans, but they may miss the more amorous matings that occur in the more dramatic male sagas. Composer Elmer Bernstein enhances the super-charged action scenes with some humming, hipster-cool incidental music, especially in the introductory urban car chase scene. "Bulletproof" is definitely no classic, but it has its share of entertaining moments.

Bulletproof is quite clearly a disposable film. The kind where bullet riddled good guys and bad guys are splatted everywhere, so much so that you really aren't supposed to see them as human. The yawns between the lines from Wayans and Sandler are extensive indeed. They try hard but , alas and alack, persona itself does not a good film make. Jimmy Caan plays a nifty villain but he's always had that redneck edge at the ready. My favorite's scene is the repeated clips of a TV ad in which Caan reveals the virtues of America can be shown to the world by having 2 cars in every garage. Aside from that it's a buddy movie with guns for brains. Pass on this one.