卧龙战警

《卧龙战警》讲述的是什么故事？

《卧龙战警》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 narrationvoice 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 yuppieviolence 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.

一、《卧龙战警》是哪一年上映的？

《卧龙战警》是比尔·杜克于1992年拍摄的一部经典动作片。此片开创美国当代动作片的先河，《卧龙战警》上映时票房稳坐前三，创下当年纪录。当时劳伦斯·菲什伯恩,杰夫·高布伦,查尔斯·马丁·史密斯均为最佳主角，劳伦斯·菲什伯恩,杰夫·高布伦,查尔斯·马丁·史密斯以精彩演技和突出形象，奠定在美国影坛地位。劳伦斯·菲什伯恩,杰夫·高布伦,查尔斯·马丁·史密斯饰演角色造型多年后仍为人所模仿。比尔·杜克之前曾被人怀疑其能力，而《卧龙战警》却奠定比尔·杜克动作片风格。《卧龙战警》首映时曾获海外动作片和媒体广泛称誉，被认为其优秀程度，是足以与同时期（指1992年代）美国优秀动作片齐名。

二、被称为动作片的开先河之作的《卧龙战警》，是比尔·杜克最好的作品吗？

从比尔·杜克斩获动作片最佳导演开始，很多观众就觉得这部《卧龙战警》是他极具代表性的动作片。虽然比尔·杜克后来还拍出过评价很好的作品，但是《卧龙战警》依然常被认为是他动作片创作中的重要代表。

三、《卧龙战警》为什么可以成为经典？

提起美国，不少观众都会想到《卧龙战警》的名字。这部由比尔·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《卧龙战警》，在当时凭借鲜明的人物塑造和紧凑的动作片叙事获得了不错反响。正是人物命运、情绪推进和故事节奏之间的相互配合，让《卧龙战警》在同类型作品中具有较高辨识度，也让观众对其中的情节留下深刻印象。

四、如何评价《卧龙战警》？

《卧龙战警》口碑表现稳定，深受广大观众喜爱。不仅劳伦斯·菲什伯恩,杰夫·高布伦,查尔斯·马丁·史密斯的表演有看点，而且该动作片故事情节紧凑，不卡影院（www.sxlongtaiwl.com）观看起来流畅，同时还能保持较强的剧情吸引力。虽然不同观众对《卧龙战警》的评价各有侧重，但该片目前的受欢迎程度已经名列同类作品前茅。

五、《卧龙战警》动作片的主要内容

《卧龙战警》是一部动作片作品，由导演比尔·杜克执导，劳伦斯·菲什伯恩,杰夫·高布伦,查尔斯·马丁·史密斯主演。影片围绕主要人物的经历展开，通过人物关系、情节推进和情绪变化，呈现出一段具有观看价值的动作片故事。

《卧龙战警》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 narrationvoice 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 yuppieviolence 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.