Virtually a steal from Richard Quine's Pushover, an unjustly neglected film noir of the Fifties (especially neglected as a voyeuristic companion piece to, and from the same year as, Rear Window), about a police detective who falls for the gangster's girlfriend under his surveillance. Or anyway, that much of the idea is stolen. Outside of that, the Eighties treatment did not bother also to take the sense of plot logic, of character and psychology, of moral consequences, of controlled tension, of geography and geometry, of anything at all. What it offers of its own are overblown and irrelevant action scenes, pop-music interludes, practical jokes in place of male camaraderie, and the shortest cop partners on the Seattle police force: Richard Dreyfuss and Emilio Estevez. With Madeleine Stowe and Aidan Quinn; directed by John Badham. (1987) — Duncan Shepherd
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