To me, this movie is perfection.

As Good As It Gets

Story: It's very simple but honestly that is fine.

It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

Steven Seagal's supposed "comeback" film is an action thriller with some intense, expertly-crafted action scenes saddled on to a routine, clichéd plot which never rises above the "good guys battle police corruption" idea which has been done so many times previously (indeed, to highlight the cliché, Seagal's character is even referred to as "Serpico" in one scene). This time, however, the film is slightly different to most in that the budget is larger than usual, and the film has a slick style, a hard edge that's missing from more usual lower-budgeted fare. This time, too, there's an element of humour in the script, with jokes about Seagal's adopted "hardman" persona as he joins an anger management class, and comic supporting characters (not so funny, including one offensive black guy whose lame brained moronic humour definitely wasn't required).The cast is a better one than usual. Seagal - who lost weight for the role - is in good shape and looks capable of carrying out some of the well-edited martial arts techniques he tries out in this movie, although his acting hasn't changed since his debut. DMX is pretty limited as Leon Rollins, who turns from extreme bad guy to good guy at around halfway through in one of the film's many character twists. The familiar faces of Tom Arnold, Michael Jai White, and Bill Duke pep out the supporting cast, while Jill Hennessy makes for a strong feminine role as Seagal's tough Commander. The loud music is frequently intrusive and one of the film's flaws.The action sequences, however, are excellent, and worth watching. Beginning with a large-scale shoot-out involving a squad of renegade commandos disguised as policemen and finishing with a clever helicopter stunt, this has it all. There are MATRIX-style camera tricks used to make characters perform impossible manoeuvres, a motorbike chase, an excellent van set-piece which contains one of the coolest vehicle crashes ever filmed, a scene which harks back to the old days with Seagal battling a street gang single-handedly and breaking many arms and legs, plus plenty of shootings and one-on-one battles for Seagal. Thrilling stuff, it's just a shame the story is so familiar and overdone. Not bad for the genre, though.

I don't get the bad reviews ..Maybe people expected something different? It is a macho action movie that doesn't take it self to serious and it is even better then most of the recent Seagall movies (probably his best since "Under Siege"). I don't look at superficial details like DMX playing himself again, not so believable characters, the overall mediocre acting, lack of logic or the canned story. It's not a Darabont, Nolan or Spielberg. It is simply supposed to be fun and entertaining not to be deep or intelligent. The hard action is very cool and there is a lot of tempo in it. The sense of humor rounds it off. Seagall delivers a good performance and carries the movie well together with his co stars. It is far away from being worth an Oscar but it keeps what it promises: It's a fun, cool, action-packed cop and gangster flick.

"Camp is terribly hard to define. One feels it intuitively." - Christopher Isherwood Steven Seagal's "Exit Wounds" opens with Seagal, an American cop, getting DEMOTED for SAVING THE LIFE OF THE VICE PRESIDENT. What the hell? The rest of the film proceeds along similarly random lines. We watch as Seagal dodges bullets at point blank rage, visits homo-erotic locker rooms, detonates a helicopter with a pistol, takes anger management classes, beats up randomly appearing multiracial carjackers, lets himself get tazered in the nipples, and prove that all black guys aren't career criminals. Even the film's dialogue - "It was bureaucrats like you who sent kids to Vietnam in the sixties!" - comes totally out of the blue. Watching "Exit Wounds" is like sucking on a tank of laughing gas whilst ninjas and clowns battle for front row seats at a gay opera.6/10 – Glorious cheese.

Don't you hate it when the hero and his mate have the bad guys held up and then the hero's mate swings his gun round and points it at the hero, and it turns out he's one of the bad guys after all? Most recently seen in high profile in SPOILER SPOILER SPOILER Indiana Jones 4? Well guess what? Spielberg didn't think of it. And neither did the people behind Exit Wounds - it was already old hat when they came up with the idea of trotting it out towards the end of this rather routine Seagal vehicle.Seagal is a problem cop, transferred to a problem precinct where the main activity is playing "Guess who's not corrupt". We have a black crime boss who has a monumentally irritating comedy fat black sidekick, plus Tom Arnold in screaming over-the-top mode (is he ever in any other mode?).You may come to the conclusion at this point that I found this movie rather tiresome. If Seagal butt-kicking action is your thing - and it's OK, that's why I watched the movie - there's some of that in it, but this film severely lacked anything approaching originality - it was simply tired old formula from start to finish. And not even a good example of the formula, either.