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Perhaps the finest Steven Seagal film ever made, Exit Wounds is a police anti-procedural that actually benefits from dancing on the edge of nonsensicality. Director Andrzej Bartkowiak debuted with the winningly breathless Romeo Must Die, and here he returns to that movie’s Hong Kong-goes-blaxploitation mode. Seagal takes the Jet Li role as insubordinate Detroit cop Orin Boyd—which seems unlikely but works OK. The star moves well enough in the action sequences; it’s only when he’s at rest that he looks too old for this shit. Also returning from Romeo are DMX, playing enigmatic billionaire drug dealer Latrell Walker, who ultimately allies with Orin, and Isaiah Washington, in the role of Orin’s partner. Orin makes his supercompetent entrance saving the vice president of the United States from the best-armed right-wing militia group in U.S. history. To get him out of the line of fire, Orin dumps the VP in the river—which displeases the Secret Service and gets Orin busted to a beat on the bad side of town. Because Detroit doesn’t exactly have a good side, the lively, diverse, urbane look of Orin’s new precinct can only mean one thing: Exit Wounds was filmed in Canada. That hardly matters, however, because the movie takes place in a macho fantasy land in which Latrell’s buddy T.K. (Anthony Anderson) can run an upscale, integrated rave/strip club where nearly nude dancers confined in a large glass box daub each other with body paint. This makes about as much sense as the plot, which pits Orin and his cohorts—including a comic sidekick played by Tom Arnold—against crooked cops with a new method for distributing heroin that might actually have been taken seriously had it appeared in Traffic. Without any pretense to influencing public policy, Bartkowiak can concentrate on flashy choreography, including a sword fight and a John Woo-style two-guns-blazing swoop. As for the dialogue, just pretend it’s in Cantonese. —Mark Jenkins