![]() We strive to recommend the very best things that are suggested by our community and are things we would do ourselves - our aim is to be the trusted friend to parents. This film is rated R.At Kidadl we pride ourselves on offering families original ideas to make the most of time spent together at home or out and about, wherever you are in the world. Berger music by Steve Porcaro production designer, William Elliott produced by Roger Birnbaum released by Touchstone Pictures. It contains scenes of extreme violence and a lot of profanity.ĭirected by Thomas Carter written by Randy Feldman director of photography, Fred Murphy edited by Peter E. ''Metro'' is rated R (under 17 requires accompanying parent or adult guardian). ''Metro'' finds him back in the rut he appeared to have escaped. Murphy seemed to have awakened just in time to salvage his crumbling superstar status with a performance that stretched his comic talents in promising new directions. In last year's comedy ''The Nutty Professor,'' Mr. Wincott cuts through the paint-by-numbers verbiage to create a genuinely menacing psychopath. From here, the movie reinvents itself as a protracted cat-and-mouse game played by Scott and Michael Korda (Michael Wincott), a sadistic jewel thief who has shot one of Scott's buddies. ''Metro'' at least begins promisingly with a noirish montage of San Francisco scenery and a tense sequence in a bank in which Scott outwits a robber hysterically terrorizing a group of hostages. ![]() ![]() The only thing keeping it going for the last half-hour is a bogus jailbreak and an even more absurd kidnapping. When together, the two are usually seen in the kitchen cooking, and their coy exchanges include flat little jokes about pesto and the forbidden ''M word'' (marriage).īefore it's over, the movie has ground to a halt no less than three times, then sputtered to a start again. The story is a patchwork of action-adventure cliches loosely glued together with a tepid romantic subplot in which the workaholic Scott, who is losing his beautiful English girlfriend, Ronnie (Carmen Ejogo), to a professional athlete, aggressively tries to win her back. Murphy's trademark twinkling-eyed barracuda grin suddenly erupts, and he becomes his impish 1980's self again. Most of the time, Scott is a straightforward action hero wearing the usual fixed glare as he boldly plows into trouble. Out of frustration perhaps, he gives his character a split personality. Murphy doesn't seem to have much of an idea, either. ![]() It often feels as if a committee, having been instructed to create a semi-realistic law officer for the star to portray, had no idea what to do with the character once it had dreamed him up. Much of the rest of ''Metro,'' which was directed by Thomas Carter from a screenplay by Randy Feldman, conveys the same sense of weary deja vu. After all, when you've seen one spinning car, haven't you seen them all? And hasn't this demolition derby been staged several times before on the same streets with infinitely more pizazz and zest for destruction? And the jiggling camera can't blur the careless mechanical stitching in a sequence that tries to make up for in length what it lacks in inventiveness. The vehicular pirouettes and ski jumps are so exaggerated that they correspond neither to the urban geography nor to the laws of physics. Murphy's character, a hostage negotiator named Scott Roper, and his partner, Kevin McCall (Michael Rapaport), pursue a killer on a runaway cable car, the chase turns into a cookie-cutter series of collisions as one vehicle after another is smashed from behind and sent reeling.īut long before the last car has been flipped, this flurry of flying metal has lost its edge. Halfway through ''Metro,'' an aimless police drama starring Eddie Murphy, the movie makes a desperate stab at churning up some adrenaline with an elaborate downhill chase over the streets of San Francisco.
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