Wonderful character development!

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Dreadfully Boring

There is just so much movie here. For some it may be too much. But in the same secretly sarcastic way most telemarketers say the phrase, the title of this one is particularly apt.

Deep Cover is directed by Bill Duke and written by Michael Tolkin and Henry Bean. It stars Larry Fishburne, Jeff Goldblum, Charles Martin Smith, Victoria Dillard and Gregory Sierra. Music is by Michel Colombier and cinematography by Bojan Bazelli.Traumatised as a youngster by the death of his junkie father, Russell Stevens (Fishburne) becomes a police officer. Passing an interview with DEA Agent Gerald Carver (Smith), Stevens goes undercover to bust a major drug gang that has links to high places. But the closer he gets in with the targets, the deeper he gets involved - emotionally and psychologically.A splendid slice of gritty neo-noir, Deep Cover follows a classic film noir theme of a man descending into a world he really shouldn't be part of. This is a shifty and grungy Los Angeles, awash with blood money, single parents prepared to sell their kids, where kids in their early teens mule for the dealers and get killed in the process. A place of dimly lighted bars and pool halls, of dank streets and scrap yards, and of course of violence and misery.The look and tone of the picture is as intense as the characterisations on show. Duke (A Rage in Harlem) knows some tricks to imbue psychological distortion, canted angles, step-print framing, slow angled lensing, jump cuts and sweaty close ups. Bazelli photographs with a deliberate urban feel, making red prominent and black a lurking menace. While the musical accompaniments flit in between hip-hop thunder and jazzy blues lightning.Fishburne provides a narration that works exceptionally well, harking back to classic noirs of yesteryear. As this grim tale unfolds, his distressingly down-beat tone goes hand in hand with the narrative's sharp edges. The screenplay is always smart and cutting, mixing political hog-wash and social commentary with the harsh realities of lives dominated by drugs - the users - the sellers - the cartel, and the cop going deeper underground...Great performances from the leading players seal the deal here (Goldblum is not miscast he's the perfect opposite foil for Fishburne's broody fire), and while some clichés are within the play, the production as mounted, with the narrative devices of identification destruction (hello 2 masks) and that violence begets violence, marks this out as one the neo-noir crowd should note down as a must see. 8/10

Urban crime and the politics that drive it is never a good mix. Nor are they the easiest of situations for an individual to get out of clean free. It's amazing though to how at the flick of a switch a decision can change the entire game plan. Taking down crime is a tough issue too. It's astonishing to how difficult it is to make a difference. When it comes to this particular realization, for some it takes all of a day, while others believe in one thing and later on discover they should've listened to their instinct. It's sad because it squanders people who could potentially do something better in the future. Laurence Fishburne plays a character somewhat like this.Here, we see Russell Stevens (Larry Fishburne, as he was called back then) as a much leaner and fast paced officer of the law who looked to make a difference in society. The reason behind this - his father was a drug addict and witnessed his death. So in order to never become what his father was, he joins the force headed by the questionable Carver (Charles Martin Smith) for having a mentality that feels racist without publicly stating it. What Carver ends up having Stevens do is pose as a drug dealer so he can get inside the lead crime circle founded by a man named Gallegos. The interesting part of this story element is that Stevens is doing exactly what he'd hoped he never get close to. His motivations are clear but his judgment is clouded.Perhaps the only thing that's confusing about Fishburne's performance is that with the optimistic outlook that he carries, is barely portrayed with the proper emotion. Most of the time he plays it straight face, with an occasional tone raises here and there. A problem that does arise in the writing is the numerous characters that have little significance to the plot. As for the characters that do have significance, they on the other hand are developed to that of mediocrity. Victoria Dillard plays Betty, some exotic mask seller who also works in the drug ring, I guess. She also has no background or motivation. She also has a thing for Stevens, what a surprise. Then there's Jeff Goldblum who plays a happily married father who also works in the drug ring and sleeps with various other women from time to time. Oh and he enjoys having awkward conversations with Stevens about their freaky sexual experiences,......OK. This isn't a comedy.But if there's one thing that director Bill Duke did right was showing the progression at which how bad things can get. As the running time continues, the audience sees the changes at which Stevens has to make so he can match the crime lord that he's after. It's a big mess though, the title really should've been called Deep Crap or something because the further Stevens stays in the game, it feels harder for him leave. The cinematography by Bojan Bazelli is shockingly not captivating this time. I guess urban landscape isn't his forte. Music related, Michel Colombier's score had an interesting main theme by giving it that early 90s soul feel with bongo drums. Sadly though it wasn't memorable. More could've been done to actually give some emotion to the scenes that were filmed.This intellectual thriller has moments of clever writing and direction but it doesn't occur often enough. The story contains too many unnecessary characters, its leads are mostly underwritten and the music is forgettable.

Yes, it was somewhat violent at times, but 15 years later (post-Tarantino) it's nothing a woman who likes an intelligent, extremely well-acted, written and directed movie can't handle. I'm a late convert; I used to avoid movies that I thought might have too much violence. Considering some of the "torture porn" movies of the last few years, this one's easy on the eyes.That being said, this is now one of my all-time favorite movies. I'd recommend it to anyone who enjoyed "New Jack City" plus anyone who's a fan of Mr. Laurence Fishburne and/or Jeff Goldblum. I loved the occasional poetry and especially the relationship between Fishburne's character, the undercover cop, and Clarence Williams III's character, a street cop. It was almost like a father-son type of interaction.Don't believe the few naysayers, SEE THIS MOVIE!

As far as I (the "me") am concerned, this is a really top 10 of the decade movie. Fishbourne gives an amazing, stellar performance that served to cement his reputation as a talented, malleable (to be lauded in an actor...) professional. To truly understand the content of this movie, you literally have to be thinking "Shakespearian" to put it in context. That he played Othello after is a rather pleasingly obvious choice. Put together hungry, ambitious actors and actresses, excellent writing that con-temporizes perennial concerns; combine with innovative, just beyond the current accepted edge cinematography; and you get Deep Cover. A deep symmetry and (of) actor sympathy (not necessarily in that order) reveals truths all but concealed by contemporary brusqueness. See the gd thing to appreciate it, and do it late at night. It is truly the sleeper of the last 2 decades; see it and be in on it.