Word: cops
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Dates: during 1990-1999
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...ordinary citizens alike should speak out on matters of right and wrong, but must make clear they don't mean to muzzle anyone. They should "shame" entertainment companies (including Time Warner, a favorite Bennett target) that they judge to be trafficking in rap-music lyrics that glorify rape and cop killing or in daytime TV shows that celebrate neo-Nazis and hookers...
Today's economy has pushed many couples into working two or more jobs between them, and has contributed heavily to the neglect of parenting that lies behind many of the cultural pathologies he bemoans. But Bennett calls it a "cop-out," especially for the middle class, to blame family problems on the economy or insufficient help from the government. "If a couple really makes their children a priority," he says, "they will find jobs that allow them more time with their kids, even if that means making less money and living someplace less expensive...
Everyone has many terrible vows to keep, many beautiful secrets to reveal. Venal jailers stroke their fancy mustaches. The sound effects are volcanic: a slap stings like a bullwhip. Benazir goes mad, her daughter grows up to be a race-car driver, the policeman's daughter becomes a cop and helps track down Habibullah's brother (who spits out his evil threats on a cellular phone--suddenly we're in today's India), and everything climaxes in an Armageddon of gunplay. With music...
Somebody--maybe screenwriters Joe Gayton and Lewis Colick--must have pitched this as The Defiant Ones only with lots of guns and cars and four-letter words. Keats (Wayans) is the undercover cop; Moses (Sandler), a member of a vicious drug gang, is the man in shackles. Together they're on the run from Moses' old gang lord (James Caan), who is so evil that his day job is selling used cars...
...cop and the criminal are natural enemies. Keats believes Moses put a bullet in his head; Moses thinks Keats betrayed him for the sake of a cheap bust. But as they drive around the desert, dodging machine-gun fire and stepping into plotholes of delirious implausibility, the two men get into tough-guy bonding at its wettest. Moses has no girlfriend, and Keats' has an ulterior agenda. After a while the standard gross-out talk of action movies--the gay-baiting gags and threats of fellatio--makes for an odd subtext. All these swaggering men who say they hate each...