| Exit Wounds | 
 enlarge | Actors: Tom Arnold, Bill Duke, Jill Hennessy, Bruce Mcgill, Steven Seagal
Studio: Warner Home Video
Category: DVD
List Price: $12.98
Buy Used: $0.39
You Save: $12.59 (97%)
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Avg. Customer Rating:  121 reviews
Sales Rank: 17720
Format: Closed-captioned, Color, Dolby, Dvd-video, Subtitled, Widescreen, Ntsc
Languages: English (Original Language), English (Subtitled), French (Subtitled)
Rating: R (Restricted)
Number Of Items: 1
Running Time: 101
Aspect Ratio: 2.35:1
Shipping Weight (lbs): 0.2
Dimensions (in): 7.4 x 5.4 x 0.6
MPN: WARD21069D
UPC: 085392106929
EAN: 0085392106929
ASIN: B00003CXW4
Theatrical Release Date: 2001
Release Date: August 31, 2001
Availability: Usually ships in 1-2 business days
Condition: Complete with original disc(s), case, and artwork. In stock and ships today!
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Product Description
A detroit detective whose off-kilter heroics get him busted to the citys worst precinct teams with a street-smart hustler to battle corrupt cops. A fast bold blend of hip-hop style and chop-till-you-drop action. Studio: Warner Home Video Release Date: 02/14/2006 Starring: Steven Seagal Isaiah Washington Run time: 103 minutes Rating: R Director: Andrzej Bartkowiak
Amazon.com
One can always count on Steven Seagal to act as the repository of yesterday's action-film cliches, and Exit Wounds is yet another case in point. Seagal plays Detroit cop Orin Boyd, a lone wolf lawman who gets in the middle of his precinct's losing battle against police corruption. Taking on a powerful but crooked cop named Montini (David Vadim)--who is busy making deals with a rich gangster (DMX)--Boyd soon sends fists and feet flying while Tom Arnold provides the comic relief. Director Andrzej Bartkowiak surely had less fun guiding Seagal through slow-motion fight sequences than he did Jet Li in Romeo Must Die, but as compensation he gets to work with the mesmerizing DMX, who looks as though he has leading-man possibilities. Plenty of gratuitous gore, awful cop banter, and miles of cleavage courtesy of Jill Hennessy, who plays Boyd's tough-as-nails boss. --Tom Keogh
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| Customer Reviews: Read 116 more reviews...
Segal's Last Good Theatrical Movie July 31, 2008
This is the last true good theatrical release from Seagal; his preceding films afterwards would not match this movie in anyway, in exception of Belly of The Beast and Urban Justice. Seagal decided that it was time to loose weight and serve his fans right by doing another good movie like Under Siege.
Segal plays Orin Boyd, A good cop, one of the few that is not corrupt. After breaking the rules to save a vice president he is sent to a lower class precinct to learn some manners and earn his badge again. After proving his valor he is re assigned to work with a partner (Isaiah Washington) they are on the look for Drug rings around the neighborhood, they suspect something funny about a man named Latrell Walker (DMX) he is seeing doing dealings with cops and other people. Segal later finds out that Walker is with the good guys, and indeed wants to bring down the corruption...but who do you trust?
The movie is a bit unoriginal in some areas, but Seagal, DMX and the cast do a decent job with what they have. a thing I disliked was that there was to much wire work on the fight scenes. They at least managed to keep the Seagal's doubles minimal. Definitely worth owning even if you're not a Segal fans.
MY PERSONAL RATING: 3 OUT OF 5
Heavily, I mean Heavily Cliched, But Good Nonetheless April 29, 2008
There was a blaxploitation quality about this film which I really enjoyed. I think this was because of the silly cop banter and DMX's hard hitting musical score. But I could also quite easily and oddly see Seagal's character being substituted by a leading African-American actor of the Blaxploitation era and this film making it quite big. As cliched as it was, it really was a solid lone wolf cop story, which only Seagal could do so well in his forever deadpan way.
Even the slightly silly, over-the-top action sequences had an endearing quality about them. I still laugh, but smile with excitement in the scene where Seagal flicks a gun up to his hands with his feet. Its all in slow motion, the music intensifies, you know doubt will crack up with the ridiculousness of the "move" that Siegel is doing, yet you will feel comforted and at home with the whole ordeal. Thus as I say this film is reminiscent of blaxploitation films, it is also reminiscent of action films of the 90's, for those growing up in that era, like myself. "Three Ninjas", "The Last Action Hero", "Ninja Turtles" all come to mind.
All in all the storyline kept me interested, Steven Seagal was a pleasure to watch and DMX's acting looks promising.
A great action film April 2, 2008
Steven Segal makes a great action comeback in this movie. His last good movie was Under Siege was his last okay movie was The Glimmer Man. This movie is about dirty cops and Segal is trying to bring them down. DMX who is one of the best rapper/actors is also a good co-star. The only let down for me was the fact that Steven and Micheal Jai White didn't have a longer fight scene. All in All this is one of Segal's best and his late good film.
 Good story September 28, 2007
Unlike other action movies where the action outweighs the story, this movie has a strong plot. There is action in this movie including a massive automatic gun firefight on a bridge at the start of the movie and a good car chase about half way through. What makes Exit Wounds different than other Seagal movies is the plot is very strong in this movie. Where does a good cop go when he suspects there are bad cops in his department? That is the question Seagal must answer. There is not a lot of martial arts in this movie but there is a good amount of gun fights.
 Unusually effective frequency, intensity and quality of action scenes June 17, 2007
EXIT WOUNDS (2001) does justice to Steve Seagal's reputation for
outdoing all others motion pictures for the frequency, intensity and
quality of action scenes, gun firefights, and man-to-man combats.
With a plot that's somewhat difficult to follow or believe (such that
some in the audience may reach for a Bufferin), the story deals with
an inside job, being coordinated and masterminded at the highest
level in the US police force, such that in the end, it is entirely
logical, explicable, and comprehensible for why so many police
officers were recruited for, and participated in a narco-trafficking
operation without being caught, by Internal Affairs or by clean cops.
In addition, Seagal's characters learns the lesson that high level
officials in an organization can take out their rivals (lower in the
hierarchy) by taking on alone the roles of judge, jury and
executioner, all-in-one.
Playing an iconoclast, independent-minded police detective, who is
able to think things over for himself, pulled from a vast experience
on the force, and talent, with the ends for him always justify the
means, (in terms of stopping a suspect, and protecting civilians) ,
this gets Seagal in trouble, for not being a low-profile officer.
Clearly, the non-stop action scenes will send thrills down the
audience's spine, their jaws and eyes wide-open, as all types of
vehicles (cars, motorcycles) and arms are used (shotgun, pistol, Uzi,
swords) including karate body to body defense and attack moves, etc.
The soundtrack is a mixed bag, but obviously, having been prepared by
DMX, with the cast split 50/50 with African Americans, evidently, hip
hop and the latest style of rap music was employed.
The sound effects for those with a 5.1 home theater will clearly meet
and exceed expectations. The wide-screen is well done, and a plus.
There's a number of quirky short catch-phrases, most often uttered by
Anthony Anderson's character, such as when he admits fearing Seagal
"will stick a plunger up his a#$" or "you need the meat, to feel the
heat" praising obese women.
Showing plenty of fitness and gym scenes, (weight lifting, boxing,
athletics), and a $300,000 Ferrari and phenomenal stunts and
firefights almost every 10 mins, the movie clearly aims to have to
audience's adrenalin and testosterone pumping, and manages this well.
The non-sequitur of the last 5 mins, with Tom Arnold doing comedy,
and the short shelf life of the rap numbers are the weak points.
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