Deep Cover Movie HOT!
Fishburne plays a police officer who goes undercover in a sting operation in Los Angeles to bring down a West Coast drug cartel. The film received positive reviews, being likened by some critics to a modern film noir. It is also notable for its theme song of the same title, composed by Dr. Dre and released as his debut solo single, which also features then-newcomer Snoop Doggy Dogg making his studio debut.
Deep Cover Movie
In 1991, Stevens is a police officer. He is recruited by DEA Special Agent Gerald Carver to go undercover in Los Angeles, claiming that his criminal-like character traits will be more of a benefit undercover than they would serve him as a uniformed policeman. Stevens poses as drug dealer "John Hull" in order to infiltrate and work his way up the network of the West Coast's largest drug importer, Anton Gallegos and his uncle Hector Guzmán, a South American politician. Stevens relocates to a cheap hotel in Los Angeles and begins dealing cocaine.
One day, Stevens is arrested by the devoutly religious LAPD Narcotics Detective Taft and his corrupt partner Hernández, as he buys a kilogram in a set-up by Gallegos' low-level street supplier Eddie Dudley. At his arraignment, Stevens discovers that he bought baby laxative instead of cocaine, and his case is dismissed. Stevens' self-appointed attorney David Jason, who is also a drug trafficker in Gallegos' network, rewards Stevens' silence with more cocaine and introduces Stevens to Felix Barbossa, the underboss to Gallegos. Felix kills Eddie when he finds out he's working with the LAPD and enlists Stevens as Eddie's replacement.
Gallegos comes to meet with Jason and Stevens and informs them that they have inherited Felix's debts to him. Later that day, Stevens meets with Carver to tell him about his meeting with Gallegos. Instead, Carver pulls a gun on Stevens and orders him to surrender his weapon and get in his car. Angrily, Stevens disarms Carver and forces him to admit that the State Department has decided to leave Gallegos alone because Guzmán may some day be useful as a political asset to them and Carver has decided to play along in exchange for career advancement. Stevens' disillusionment reaches its conclusion, and he abandons his undercover status, vowing to take down Gallegos and Guzmán alone.
However, not all critics liked the movie. In his review for The Washington Post, Desson Howe wrote, "With Boyz n the Hood, Fishburne broke through to the big time. Here, his acting career takes a step backwards". Despite this, of Jeff Goldblum he stated that "Oddly enough, Goldblum's so wildly out of place in this misbegotten movie, he becomes its greatest asset".
Laurence Fishburne stars, in, surprisingly, his first lead role, although he has been in movies since he appeared in "Apocalypse Now" (1979) as a 15-year-old and had the key role of the father in "Boyz N the Hood" (1991). He plays a cop who is assigned to go undercover and ingratiate himself with an important ring of cocaine dealers. He finds this hard to do; as a child, he witnessed his own father killed while pulling a stickup, and his psychic well-being depends heavily on his self-image as a cop - as a good guy, a straight arrow.
He is talked into taking the assignment by a cold federal agent played by Charles Martin Smith, who overcomes his resistance by quoting from a psychological profile: "You score almost like a criminal. You resent authority and have a rigid moral code, but no underlying system of values. Look at all your rage and repressed violence. Under cover, your faults will become virtues." Fishburne goes undercover as a street buyer of cocaine. He is able to work his way into the circle of a mid-level drug distributor, played with a nice, off-balance craziness by Jeff Goldblum. And eventually Fishburne infiltrates the highest levels of the organization, which is bringing drugs in from Latin America.
All of that is more or less routine, the stuff of many other movies. What sets "Deep Cover" apart is its sense of good and evil, the way it has the Fishburne character agonize over the moral decisions he has to make. Most drug movies are so casual about their shootings and killings that you'd hardly think it even hurt to get shot. Fishburne, faced with a situation where he might have to kill somebody, is deeply torn, and he suffers agonizingly through the aftermath. He engages in bitter arguments with Smith over the morality of the actions the government wants him to take. And as the child of an alcoholic who was shot while drunk, he doesn't drink or use drugs, until a crucial turning point in the movie.
The screenplay is by Henry Bean and Michael Tolkin. Bean is unknown to me, but Tolkin is having a hot year after directing and writing "The Rapture," about a woman who moves from promiscuity to deep religious belief, and writing Robert Altman's "The Player," about a Hollywood executive whose studio power struggle seems to threaten him more deeply than a murder investigation. Tolkin is clearly interested in characters who do wrong and then have to live with the consequences of their actions. Unlike the countless movie characters whose only goal is to kill their enemies and obtain their desires, the Fishburne character is placed in the middle of moral dilemmas that torture him and then left to figure his own way out.
This fresh material inspires the actors. Fishburne is strong and complex in a role that marks him for more leading work. Goldblum whirls through scenes with wacky dialogue ("Let's have dinner!" he shouts to a victim during a bloody chase scene. "We'll have shrimp!"). Victoria Dillard, as a dealer in African art who also launders money, has to make a moral about-face much as the central character in "The Rapture" did. Among the many unexpected aspects of this movie is the way its characters constantly ask themselves what the right course is - and if they can afford to take it.
The God Bill Duke turns in one of the best War on Drugs movies ever made. Think how many times over the course of this crusade that an idealistic, even noble, person joins the cause to stop the ravages of drugs and violence on American society, particularly in poor and black communities, and ends up working for the government to actively facilitate their import and distribution.
A terrific thriller firmly in blaxploitation territory. It'd be enough if this was just about a conflicted undercover cop as an analog for a community complicit in its destruction at the hands of a corrupt and racist establishment. But it's so much smarter than that. As the plot snowballs it picks up ideas about minorities excluded from economic opportunity and narcotraffic being a test pattern for today's globalized capital. Even the drug dealers complain that the CIA is trying to cut them out of the market. Power just moves up the chain, even suffocating governments, and eventually we all do it to ourselves.
Bill Duke's Deep Cover is a stylish LA gangster flick that combines film noir and blaxploitation tropes into an explosive portrait of black identity and corrupt system. Laurence Fishburne and Jeff Goldblum are both magnificent in it. Bojan Bazelli shot the hell out of this. Criminally under-discussed movie.
From his confidence in the cocaine-related court case early in the film to his eventual double-cross and secret stash of cash that concludes the film, Russell simultaneously prioritizes his personal well-being beyond the police force and maneuvers the difficulties of maintaining his false identity in the face of multiple powerful and potentially violent individuals. By remaining skeptical of the police force that employs him in the midst of his undercover work, Russell confidently retains his personal agency outside the systemic corruption that he sees in L.A. policing, particularly embodied by compromising undercover cops and radically religious agents.
Of course, the reason why movies are better than real life is that you can rewrite the ending of a movie. Real life always ends with the protagonist dying, but movies can end with Larry Fishburne fucking over the entire American system and skating with eight figures in his pocket. Why I submit Deep Cover as a truly great and enduring film is that few films are able to gaze this deep into the abyss without sinking. It dives, confronts the leviathan, and returns to the surface, bloody but whole. It manages the rare feat of being an entertaining and formally beguiling piece of dramatic fiction while being an unblinkingly defiant and cogent political statement, with neither suffering due to the needs of the other.
Deep Cover is one of the most accomplished andcompelling crime thrillers of the 1990s. It crackles with an energy that beginsright from the opening credits, as it guides us effortlessly through the morallabyrinth of its complex undercover plot set within an international drug ring.
Deep Cover is a 1992 crime thriller directed by Bill Duke and starring Laurence Fishburne as LAPD officer Russell Stevens who goes undercover and poses as a drug dealer Johnny Hull in order to infiltrate a drug ring.
A 3rd Gen. Colt Detective Special is seen in hands of Gúzman's bodyguard in the climactic scene. Russell Stevens (Laurence Fishburne) uses a suppressed snub nose revolver in one scene. The contour of the top-strap and front sight ramp matches with the 3rd Gen. Colt DS although the barrel is covered with an unusual faceted shroud, supposedly used for attaching a suppressor.
Russell Stevens Jr. (Fishburne) is a cop recruited by the DEA to go deep undercover in the Los Angeles drug trade and help the prosecution of key members of the cartel. He eventually makes a name for himself and becomes a major distributor, but problems arise when he allies himself with David Jason (Goldblum), a crooked lawyer with ambitions beyond his station.
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