卧龙战警「英语HD中字」是由比尔·杜克导演、劳伦斯·菲什伯恩、杰夫·高布伦、查尔斯·马丁·史密斯主演的美国动作、惊悚、犯罪 电影。该影片上映于1992年剧情如下：
Having witnessed his junkie father killed Russell Stevens grows up to become a policeman and make a difference. When he is offered an undercover job by Gerald Carver he accepts and begins to build a relationship with David Jason in order to get to the main dealers. However as he is forced to deal drugs and kill to keep his cover he finds the lines between cop and criminal being lost – is he a cop pretending to be a dealer or a dealer pretending to be a cop?
Larry (as he was then) Fishburne's first lead role was a typically dark vehicle. The story is the usual one of cop losing himself when undercover, however it manages to be more than that for most of the time. Co-written by Tolkin, who wrote The Player, this naturally has a nice cynical edge to it when it looks at the US's hypocritical approach to drug control and the political links between the street hustlers and the political high rollers who court respectability. The story does eventually settle into a traditional setting but even then it works well as a thriller.
The multi-talented Bill Duke directs well with a gritty feel and a few nice touches. However several things are a bit iffy. For most of the film Fishburne's narration/voice over is a bit like a cross between Apocalypse Now and Blade Runner – it comes across as a little too dark and heavy and also explains things like we can't figure it out ourselves. However once you get into the film it's not as big a deal. My main problem lies with the characters.
Fishburne is excellent, a real model of underlying anger and violence, Goldblum is good but perhaps a little OTT on the yuppie/violence thing, but there's good support from Smith and Spin City's beautiful (and often underused – but not here) Victoria Dillard. However the two main white characters (Goldblum and Smith) are both smeared with racist insinuations – Smith appears to insult his black officers and doesn't care about the junkies, while Goldblum is fascinated about all things black and talks about them as wild beautiful beasts and loves having sex with "black'. These things aren't a major problem, but with basically only two white characters in it, it's a little worrying that both are given that edge.
However these are minor complaints that get lost with a good thriller. Fishburne excels and Duke delivers a story that is a good thriller but also has a jaded, subversive edge.
第08集9.0分 卡拉·古奇诺,安娜·德拉·雷古拉,马格特·宾汉,诺拉·阿娜泽德尔,盖特·杨森,菲利普·文切斯特,阿梅利亚·伊芙,詹特里·怀特
正片6.0分 何莉莉,高远,潘迎紫,谷峰,樊梅生
HD9.0分 Leo Fafard,马歇尔·威廉斯,娜塔莉·科瑞尔
HD8.1分 娜奥米·哈里斯,托尼·戈罗奇,山姆·费尔,尼克·雷丁,奥利弗· 李多度
HD中字10.0分 卡尔·雷纳,爱娃·玛丽·森特,艾伦·阿金
HD中字6.8分
卧龙战警相关评论
有俗烂的twist 但最后竟然又转到正道上去了 以为会烂尾 但还好
80%的时间在看男主角装逼，装得实在太好，看得目不转睛。
黑人作为主角最好的一部neo-noir了。导演是《铁血战士》里那个黑人演员。
CC.背景设置在90年代霓虹灯遍地的洛杉矶街头，黑人警察参加美国缉毒局（DEA）涉及拉美毒品走私的卧底行动，他潜入西海岸最大的可卡因供应集团，却不时会想起自己的童年创伤：瘾君子父亲因持械搶劫失敗而死在雪地里，他立誓不会成为这种人。 “你知道怎样区别一个黑人和一个黑鬼吗？”在选拔会上他回答到：“那个黑鬼才会回答这个问题”，既不震惊也不挑衅。在毒品交易金字塔里向上移动時，他的合作伙伴推销起改良药物的方案，并宣称这将消除与种植、提炼、进口和劳动力相关的费用。 利用外交豁免权进口可卡因的毒贩说：“你们这些种族主义的美国人。你只是想把我们这些贫穷的拉美裔人完全赶出市场”，而解决种族意识的方法是建立毒品贩运的新地球村，资本会消除所有偏见，并影响政治选举，而他选择成为叛逆者和告密者，并坚守了道德底线。
1、我也不知道为啥下了这部片来看。真是没有任何理由。字幕也是稀烂，还好剧中人发音标准，少用俚语，结合着字幕我居然也凑合看了下去。2、男主我一直看着眼熟，劳伦斯菲什伯恩。实在忍不住搜了一下，原来是黑客帝国里的那位老人家。
from the song Deep Cover. I really like G-Funk.
Fishburne简直是帅呆了！摄影的胶片光影质感棒极了！！
"做警察时扮演毒枭，做毒枭时却要包庇警察" 庆幸主角并没有被黑化......
BSC频道HD双语字幕，影片很给力啊，一众配角表现尤其突出一句话呼应前后“能告诉我黑人和黑鬼的区别吗？”而男主给出的回答则是极具爆发力。
深得film noir的精髓，复杂的人性、越陷越深的罪恶沼泽、善恶之间的艰难抉择。很喜欢夜晚充满着霓虹灯的打光，拍出了洛杉矶黑夜里的光怪陆离。PS，有部分台词竟然还很诗意。
http://uptobox.com/fj69mwmq2ut2
这结尾是被素鸡1抄了吧
电影本身四星，对我的启发加一星。
the story def works.
杜克老师演而优则导，倪哥noir，或许改成“深藏不露'更适合
《旺角卡门》、《阿飞正传》时期的王家卫拍《无间道》大概会是这个调调 连上映时间都差不多 75
看过后来The Wire那种作品再看这样的卧底英雄就觉得纯粹编故事，身份纠结兄弟情谊（黑哥们和高布伦演的犹太佬的另类组合）冷艳美女终成大义等等。不过呢，风格是有的，劲酷黑哥当主角的neo-noir，不过写成noir就会有那种说不上地摊呢还是要的就是这味的装深沉独白..Laurence Fishburne确实酷。
A hell of a story
这种九十年代G-funk配乐就是舒服，不过善恶是非纠结的便衣故事确实过于说教了一点
21/7/23
全片最佳是摄影师Bojan Bazelli，此君和费拉拉合作最多，他把《纽约王》那种流光溢彩的暗调带到了这部，本身夜景不少，主演又是黑人，摄影师多用霓虹灯光和雕刻感的面部打光，配合菲什伯恩喃喃自语的画外音，赋予电影落寞、自省又带点迷幻的黑色质感。剧情较弱，菲什伯恩初入警队便作为卧底探员，介入到洛杉矶深邃的毒品交易网络里，作为黑人电影有一定政治性：毒枭的幕后老板是拉美政客，这次卧底任务牵扯党派纷争，而菲什伯恩只是枚棋子。白人上司是政治阴谋的传声筒，黑人警察则是菲什伯恩的信仰与良心。电影主线主要是菲什伯恩结识了搭档高布伦，慢慢做大生意得到接触大毒枭的机会，中间有些反传统的设计，比如怯懦的告密者突然暴起用餐叉刺小毒枭，菲什伯恩被仇人用尿淋裤子后发抖射杀，这些弱者处于慌乱中的暴力行为，在90年代初黑人动作片里常见
4.5许多明显的粗糙痕迹：生硬的剪辑、幼稚的逻辑和刻板的表演，但以上这些的另外一面是漫画感十足的风格、迷幻有趣的镜头和深刻有趣的身份探讨，在90年代初期，斯派克李代表的黑人电影强势来袭的背景下，这个临时更改为黑人主角的黑帮电影变为了一个混沌的怪胎，但它证明了自己是一颗被遗忘的珍珠，带我们回到录像带盛行的年代，它洞悉了美国剿灭拉美贩毒集团行动的失败，更呈现出黑人视角下黑色电影叙事的诞生，黑人和黑鬼的区别是什么？在白人和黑人好兄弟搭档的情节中，我们看到了全然不同于主流好莱坞的表现，其中直接体现了黑人的主体意识：破碎的童年、被血与仇恨绑架的人生、基督教下的家庭观念、模糊地带的正义与爱情，它带来了节奏感和强烈的控诉，红色与蓝色统领的洛杉矶的夜晚，倾斜的摄影诗意又温暖，但这背后是欲望与良心的战争