Action man, martial artist, country and western singer - is there no beginning to Steven Seagal's talents? There are trees with more screen presence than the 49-year-old star, though that hasn't stopped him churning out a series of derivative thrillers that have inflated his bank balance, ego, and (judging by his current corpulence) waistband.
Seagal would no doubt disagree, but the success of "Exit Wounds" in America - where it topped the box office charts in its first week of release - is more down to producer Joel Silver's canny partnership of his fading lead with rising hip-hop star DMX (real name Earl Simmons). It certainly wasn't due to its plot, a "Dirty Harry"-style slab of nonsense that finds Seagal's disgraced Detroit cop up to his mullet in corrupt colleagues, heroin shipments, and gun-toting drug dealers.
With Toronto standing in (none too convincingly) for Detroit and Mr Seagal lumbering woodenly through a repetitive succession of poorly staged set-pieces, you'd think "Exit Wounds" had nothing to recommend it. Ah, but you'd be wrong. Step forward Anthony Anderson, a garrulous tub of lard best known for his role in "Me, Myself & Irene".
Together with Tom Arnold - cast as a radio shock jock who befriends Seagal at the anger management class his superiors force him to attend - Anderson dominates proceedings as DMX's loud-mouthed accomplice. The film ends with an improvised dialogue between Arnold and Anderson that suggests they might be the next mixed-race double act to take Silver's fancy.
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