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Deep Cover
Crime, Thriller, Action
IMDB rating:
Bill Duke
Laurence Fishburne as Russell Stevens Jr. / John Hull (as Larry Fishburne)
Joseph Ferro as James
Cory Curtis as Young Russell Stevens Jr.
Bruce Paul Barbour as Policeman (as Bruce Barbour)
Lira Angel as Bijoux
Alisa Christensen as Ivy's Driver
René Assa as Guzman
Bilal Bashir as Rapper's Musician
Alex Colon as Molto (as Alex Colón)
Donald Bishop as Judge
Ed Cambridge as Crackhead #2
Anna Berger as Congresswoman
Storyline: A black uniformed policeman is recruited by a devious drug enforcement agent to infiltrate a smuggling organization seeking to expand into designer drugs. This 'ugly side of the war on drugs' explores the context of race, identity and hypocrisy within a brutal and alienating investigation.
Type Resolution File Size Codec Bitrate Format
HQ DVD-rip 852x458 px 1272 Mb h.264 1500 Kbps flv Download
iPhone 480x258 px 565 Mb xvid 600 Kbps mov Download
Tight Movie
Russell Stevens, Jr., played here by the great Laurence Fishburne(Boyz N The Hood, The Matrix) is a Chicago police officer, who as a child witnessed his father die after a bungled robbery. Russell's captain(Charles Martin Smith) is looking for someone to send undercover to nab a notorious South American drug dealer. To do this, Steven's changes his name to John Hull, who moves to Los Angeles and lives in a small apartment and he succeeds as a small-time drug dealer. He is later introduced by one of his drug-dealing friends to David Jason(Jeff Goldblum), a defense attorney who is also a drug dealer himself. Stevens and David become inseparable and immediately want out from their bosses clutches and start their own drug trade by dealing a safer, synthetic form of cocaine.

This is actor Bill Duke's(who appeared in Commando, Predator) second directorial feature and is also his best.

This is my favorite Laurence Fishburne film, sadly it's also his most under-appreciated.

I give it a 9/10.
Go deep into the drug problem
Deep Cover is one of those better drug movies, an ode masterpiece to the legendary actor Bill Duke, who directs this impressive pic (surprise, where this hardly ever out of work character actor, has been gracing our screens for years. The solid actioner moves along nicely too, which has much more more to say, and gives us better insight into the drug problem. Running shy of a month at the cinema, where I took my dad to see it, the movie fared better with me, than I thought it would. We've got a real story going on, and characters. It's plotted beautifully like a piano tune. It's nice opening flashback establishes the main character's reasons for later becoming a cop, and hating drugs and liquor. When John Hull (a much slender Larry Fishburne) is approached by an DEA agent (a great Charles Martin Smith- fancy him popping up) he at first, is of course, adverse at the idea, of going undercover, when he realizes he's passed the audition (the earlier black interviewee cops had mixed reactions, you could say). He is talked around, coaxed into thinking he can do much better as an undercover cop, than walking the beat. Here, he meets an assortment of characters, mostly unsavory, one slick scum selling drug dealer, Luther, never a worse victim, at the hands of a whacking pool Cue, which as Fishburne describes says in his somber and flat voice, "The guy has a life expectancy of half an hour". This is a guy who really goes undercover, playing the part, living in squalor, and quickly rising to luxury, while working his way up the ladder, to nail the main players, one a real nasty, in a priest outfit, who rips Fishburne's earing, out of his ear. These are the pr..ks, behind this ever growing drug enterprise that kill so many of the young, hooked to crack, heroin. We learn a bit too, not just from the supposed good guys, but the leeches in fancy suits selling it. Goldblum as a slick bent lawyer, stood out, where Fishburne and him form a partnership. The movie has a lot of interesting attachments, like a young teen crack whore and kid, Fishburne befriends, as well as a hectoring undercover cop (Clarence Williams 3r'd who fatally buys it). Fishburne of course, can't reveal himself. We have a nice thrilling chase, and I guess a twist of character in Smith's intentions, where too we have a deadly hand smacking competition, and toilet trained pimp, who uses Fishburne's shoes as a head, before Fishburne, unlawfully blows him away. Yeah, he goes all the way, here. All in all Deep Cover has a lot to offer, as well as a great opening soundtrack. It has some actors who only pop up in a few other movies here and there. Fishburne holds back, playing it casual here, and he comes off better for it. I must say, it's a very real and likable performance, though it was Goldblum who stole the pic. Too it's much apparent, Hull has been hiding from himself, while in uniform
A smart, dark, socially conscious thriller
Artfully presented and blunt in its social critique, there is something deliciously honest about the undercover cop film, this being an ideal example of no-bullshit brio, starring "Larry" Fishburne as a dour L.A. agent who goes undercover to take down a Colombian drug syndicate. When he was a boy, Fishburne witnessed his father gunned down in a bungled liquor store bust; as an adult, he abstains from alcohol and drugs, and wears an impassive mien to keep the world at a safe distance. He's rigid, uncompromising, resentful of authority—he's the perfect mole, as his boss says (a squirrelly, race-baiting Charles Martin Smith), "because he fits the profile of a criminal."

Once under, the plot provocatively centers on the agonizing moral compromises Fishburne must make and his realization that right and wrong is relative to the power of the almighty dollar. Deeply cynical about the government's purported "War on Drugs"—at one point even implicating the president by name—the film sees it as just another white power structure profiting from, and fueling, a largely minority industry; honest cops and citizens pay the price for this malfeasance, an imbalance Fishburne eventually exploits with aplomb. But as much as it takes authoritarian corruption for granted, Deep Cover's attitude toward interracial sexual relations is at once fresh and unpretentious: As Jeff Goldblum's sleazy lawyer emerges from a black mistress's apartment quipping to Fishburne about the allure of exotic flesh, the film both confirms and renders ridiculous the sexual legend that, furtively, white men desire black women (and vice-versa). Instead of giggling around the issue, the film promotes this coupling as a reality, thereby reveling in the adolescent quest for exoticism and proving it a ridiculous affectation; in other words, "Get off your ass, white boy. It's no big deal." Deep Cover is also a showcase for Fishburne to prove his mettle as a leading man. He's consistently captivating, evincing the inner torment, sensitivity, and moral indecision so rare for protagonists in this sub-genre—this should have been the role that made him one of America's leading men.

Only toward the end does this hot-wire ride start to become cluttered with self-conscious gravity—Fishburne's voice-over starts to ring false when he drops stilted religious analogies—but this is for the most part a smart, dark, socially conscious thriller with the persuasive feel of noir.
Deep Cover & the Emerging Black Aesthetic
Where to begin in commenting about this film? Deep Cover - the low-budget motion picture that captivated moviegoers on its release in 1992 and thereafter with its multifarious blur of conventions - has become irreplaceable in this cineaste's film-loving career.

It seemed indistinct enough at the time of its release. Like so many other films about cops and bad guys, Deep Cover promised little else from what we were used to. Since movie culture primed filmgoers for stories about police who kill to attempt justice, we expected little else from it. Actor Laurence Fishburne, perhaps best known for his roles in School Daze (1988) and Boyz N the Hood (1991), didn't seem out of place here (in his first lead role), while actor Jeff Goldblum definitely did.

I missed the film in theaters.

The film's storyline owes its uniqueness to the subversions it pulls off. Deep Cover builds into the mythical from what seems like a simple cop story, while laying the psychology of its protagonist Russell Stevens, Jr. (Fishburne) bare with its madcap plotting. A proper reading of it is facilitated by the words of a passing character early in the film: "That's the problem these days. People have no imagination." Imagination is exactly what is needed to absorb the narrative of a cop pretending to be a drug dealer, who eventually realizes he's a drug dealer pretending to be a cop. Russell, renamed John by DEA agent Gerald Carver (Charles Martin Smith) to engage his undercover operation, braves misadventure and danger to work his way into the mid-level drug operation of David Jason (Jeff Goldblum). The idea explained by Carver is to work through and ascend a pyramid topped by a high-level cocaine supplier and take him down via the operation. But John must brave Hell to reach his goal, which is introduced to him by the superior agent Carver who says he's "God." A truly fascinating scene in the film comes due to masculine grudgery between Jason and drug dealer Felix Barbosa (Gregory Sierra). It is the birthday party of Barbosa's aide Gopher (Sydney Lassick) and Felix is more than ready to question David's criminal toughness. Before the eyes of the assemblage gathered around a table, Felix taunts David until he loses his cool. Felix then requests that David play a "game" of hand-slapping with him. John's vocal objection falls upon deaf ears. David goes along with the brutal sport until he is injured and humiliated. As John and David leave the small gathering, John notes by voice-over that one of the men will eventually kill the other.

John is brought aboard Jason's operation. While John argues that Jason needs a partner, Jason says he wants him as a courier. Jason explains his goal to John of introducing a practical synthetic cocaine to the market - a fitting ambition for a white husband who habitually lusts after younger black women and learns to murder for vindication. (The issue of interracial sex is given no short shrift in Duke's theatrical sci-fi film, by the way.) John finds a trustworthy friend in African art dealer Betty (Victoria Dillard), but only travels further along the path of righteous outrage. David's path to Nirvana is paved with black and Latino bodies. It should seem that John's moment of realization of killing a man with impunity might serve as a wake-up call. It doesn't. Only when John's neatly constructed role collapses before him, at Carver's behest, comes his awakening. Out-powered and frustrated, John realizes that he's acted as a puppet to the Feds. Fishburne rocks the screen with this mercurial persona of his creation. John takes his very first drink and leaves the sputtering Carver behind. Russell/John's rebirth is soon to come.

The best term to describe John's resolution of the conflict between social hierarchical manipulation and spiritual salvation is vigilante justice. John must rewrite the rules of the game and reclaim Russell before it is too late. And he must do it while dealing with high-level drug suppliers and the Feds.

Probably the most compelling aspect of Duke's film on its 1992 release and to date is its avant-garde form and content. David Jason's worldview could best be described as forcedly Edenic, whereas John Hull's plot at the film's end shows thought of Utopian character. The confusion that the John/Russell character suffers toward the film's climax is reminiscent of Ralph Ellison's 1952 novel Invisible Man. In each work, a black male protagonist struggles against a disturbingly fluid identity put upon him by society. This perhaps intentional "homage" to Ellison's classic waxes especially rhapsodic when John delivers free verse poetry on the spot and quotes crime writer Iceberg Slim when his luck runs out.

Jeff Goldblum's David Jason is a product of genius, a brilliantly crafted greed warrior similar to, and better than, the one limned by Al Pacino's Satan in The Devil's Advocate. This is white liberalism gone psychotic. And as for Bill Duke's direction, it was never better realized as it is during Deep Cover's macho dog-fights, stark realizations, and camera tricks (the shot wherein a man walks across a frame and wipes it away to the next one has since become standard in black film), and it may never be again. Deep Cover ushered in the fragments of an emerging black film aesthetic. Maybe some day it will receive the critical overview it deserves.
Not really my kind of movie, but Fishburne and Goldblum were good
As the movie opens, Laurence Fishburne's character, as a child, witnesses his drug addict father being shot and killed (apparently at Christmas), just after a Santa Claus says something you would never want him to say. As an adult, Fishburne is a cop who wants nothing to do with drugs but he gets assigned to an undercover operation where he actually sells the stuff. The movie starts to get a lot better when Jeff Goldblum's character, a lawyer, is introduced. At least during the first half, Goldblum borders on funny, though later he is quite serious. It turns out he is involved in selling illegal drugs, and he and Fishburne work together. One memorable character (for me) appears all too briefly: a man who creates a new kind of cocaine that will make a lot of money and supposedly cause fewer problems. Another character I liked was a cop Fishburne called 'Reverend.' The second half of the movie was not as good as the first, until about the last fifteen minutes, which ended up redeeming the movie for me. But by that time the movie had gotten very confusing, because so many lies were being told you couldn't tell what was true any more.

Fishburne and Goldblum gave good performances. But I didn't care for the violence, or the fact that most of the movie was so dark. One of my favorite scenes was the one where 'Reverend' tried to convert Fishburne to Christianity. I thought both actors were quite good in that scene. If the movie has any real significance, it is in the conflict Fishburne's character felt at knowing he was killing people, either directly or by selling drugs, in order to do good.
Fun '90s thriller with plenty of style
DEEP COVER is a pretty predictable film about a cop going undercover to take down some drug lords, but in execution it turns out to be a fun little film and more entertaining than it has any right to be from that premise. The underrated Laurence Fishburne is a fine choice for lead, playing a guy who must come to terms with what makes him a man while exploring the moral quandaries in which he finds himself.

This is a film packed with that inimitable early '90s style, with lots of hard-edged violence and even a little humour thrown into the mix. The narrative, although familiar, is very fast paced which makes for a nice viewing experience. Plus there's a big supporting role from a typically kooky Jeff Goldblum, who brings plenty of his trademark charm to the part. The only thing I wasn't keen on was the ending, which sees Goldblum acting out of character for plot necessity; otherwise, this is solid entertainment.
Remarkable deconstruction of the war on drugs
This film is up there, indeed at times exceeds the Hollywood remake of the BBC miniseries, Traffic, as a no-holds barred merciless look at the medium echelons of the drug trade and the so-called war on drugs in the United States during its time. I only gave it only an 8 because it is not exactly classic cinema material, although it is a valuable addition to any film library.

Technically, the film is remarkable for a strong performance from the lead and support cast - look out for a chilling performance by Gregory Sierra as Felix Barbosa. Charles Martin Smith, playing Laurence Fishburne's DEA handler, has got the federal bureaucrat part down pat - I'm afraid to say , as always since he tends to get typecast in only this kind of role. Lawrence Fishburne turned in a stoic yet raging performance that was believable and easy to root for. Only problem, is that he too ended up being type cast in largely the same persona. Jeff Goldblum, mercurial and sharp as always added a lot of the flair of the film. Also hats off to the woman who played Fishburne's single mother/drug addict neighbor (I didn't catch her name). The rest of the supporting cast really enriched the story.

The cinematography and editing were very effective and innovative for their time. Choppy editing with successive close ups was soon picked up by many future copycat films. This film was one of the original ones to use that editing idiom. The soundtrack also worked well , reflecting much of the cynicism and despair that pervades the movie ; at some moments the score enhanced chilling situations audibly, as it were.

All this means that Bill Duke (and the producers) did a very good job.

===== WARNING: SPOILERS - Possible spoilers ahead =====

Now story-wise, this has got to be one of the grimmest scripts to make it to production at the time. After seeing a film like the Player, I was surprised how that script ever made it to the big screen. Kudos for letting this film be made, really.

I won't repeat the outlines of the plot - you can read the plot summary for that. The story could sound as a cliché along the lines of "all i wanted was to do good as a cop but they turned me into a drug dealer." But it is not cliché at all. The script is so well paced that the stakes are periodically raised higher and higher, and the key moments of the film are timed such that they exert their full dramatic effect. The stakes are raised as high as they can be in the context of the story and the twists do not insult this viewer's intelligence. There were probably plot holes, but I missed them - I was busy enjoying the movie.

--- end spoilers --- This film is too dark for children and even early teens, but for the rest of the world it is a thought-inducing and worthy film, as a drama, a social/political critique and as a thriller/action/cop flick.
a good movie
rich are you crazy look at what the movie is supposed to be dealing with . larry fishburn did a wonderful job in this movie of playing an undercovercop who then wants to become a bad guy it's a great movie just check it out.
Interesting Thriller
This movie exceeded my expectations.

I thought it was going to be a big action movie, but it was quite different. It is a very dark thriller.

While it still had some action this wasn't the main focus. It is very story orientated. Plenty of good twists in the plot line.

The acting was good. Except for at the beginning when there is a kid acting but he was still OK. Laurence Fishburne did well as past reviews have mentioned. Another good actor in this one was Jeff Goldblum, the Lawyer. The rest of the cast were good as well.

Overall I thought it was an interesting and dark thriller which should prove entertaining even with some brutal violence.
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