The title of this movie is Metro. The reason for that is under investigation. This is a continuing celebration of films that came out in 1997, 20 years ago. It was a period in my life when I had absolutely no time for viewing movies, so I’m seeing this for the first time. As I write it’s being streamed on Hulu, hence the screen shots. Details are from Wikipedia.
Eddie Murphy hit it big in the 1980s, first as the brash crook sprung from the clink for 48 hours by Nick Nolte. Murphy became so famous at catching crooks that they did another 48 hours worth. With that warm up, they decided Murphy ought to be a real Beverly Hills cop, and they made three of those. I think the franchise is beginning to wind down with this one. This is classic Eddie Murphy, brash and hyperbolic and in this case devoid of cohesive plot. It works like this.
Now Murphy is Inspector Scott Roper of the San Francisco Police, and he is not so much a crime solver as he is a specialist—a highly-regarded hostage negotiator. When there’s a tight situation that calls for a steely assessment of the situation and rapid response, it’s Inspector Roper they call. Here he is arriving at the scene of a bank heist that’s gone wrong.
Yeah, Earl really screwed this up. He shot a guard, and police have him boxed in. He wants a getaway car and an airplane. Else he’s going to start killing people.
Instead, Earl gets donuts plus some distraction, followed by a well-placed bullet from Officer Roper, which takes him down and into custody.
Next we see Roper waiting down below while his partner, Sam Baffert (Art Evans), goes to the apartment of a suspected jewelry store robber, Michael Korda (Michael Wincott). Oh, bad news. Korda is disarming and hits it off well with Sam, and Sam leaves, feeling it was a blind alley. But then we see Sam taking the elevator down, where Korda waits for him at the bottom and slashes him to death on the elevator.
This puts Roper in a bad mood, and he’s not finished with Korda. He shortly encounters Korda in a jewelry store robbery gone south, producing another hostage situation. This time Korda out-foxes the cops by shifting his ski mask to a hostage and making his getaway after a sniper shoots the hostage.
Much excitement and the prize for protracted chase and mayhem on a San Francisco cable car. Korda gets captured.
Now it’s Korda’s turn to be pissed, and he sends his cousin and partner in crime, Clarence Teal (Paul Ben-Victor), to work some havoc on Roper’s main squeeze, the good-looking Veronica “Ronnie” Tate (Carmen Ejogo). Bad news. Roper gets there in the nick of time, saving Ronnie. Clarence gets struck and killed in the street by a car.
Korda is now maximum pissed, and he escapes from the clink on a path to revenge. And also to get back the jewels he stole, now locked in police evidence room.
Roper and Ronnie are preparing to take a vacation to Tahiti and lie naked on the beach (Ronnie thinks) and in the bed (Roper thinks). But Korda takes Ronnie hostage, and he wants the jewels back, else he has unpleasant plans for Ronnie.
Roper steals the jewels from the police lockup and teams with his sniper sidekick Kevin McCall (Michael Rapaport) to undo Korda’s plan. The swap is supposed to take place in an abandoned facility at what appears to be the decommissioned Mare Island Navy Shipyard. Korda has rigged a sadistic arrangement that has Ronnie strapped to a rotating platform featuring a cutting knife and also a switch, which Roper must keep his finger on, lest the platform rotate and send sweet Ronnie to the knife.
I’m not going to spoil it for you, but just suffice to say that McCall comes into action, Roper rescues Ronnie, and Korda meets a fiery end.
And there is no real plot. This is just an exercise meant to show off Murphy’s bold as brass persona and also to wreck a bunch of cars and fire off a ton of ammunition. The ending is unbelievably silly, as Roper and Ronnie finally make it to Tahiti and talk about going naked. We don’t get to see Ronny naked, but there are bare breasts. Sorry, Steve. There was not enough there to be worth posting.
Murphy’s acting streak continues, with Hong Kong Phooey to be released.
Ejogo is going strong, as well, although her performance here does not predict that. She excelled portraying Coretta Scott King in Boycott and Selma.
In this production Rapaport (not pictured) is cool, deadly, and bland. His career is on a tear, stretching from 1992 to the present. I have not seen him in any other films.