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In late 1940s Los Angeles, Easy Rawlins (Denzel Washington) is an unemployed black World War II veteran with few job prospects. At a bar, Easy meets DeWitt Albright (Tom Sizemore), a mysterious white man looking for someone to investigate the disappearance of a missing white woman named Daphne Monet (Jennifer Beals), who he suspects is hiding out in one of the city's black jazz clubs. Strapped for money and facing house payments, Easy takes the job, but soon finds himself in over his head. (Shock Entertainment)

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Gilmour93 

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English It's unusual in the context of the leading role of the African American community and related bidirectional barriers of segregation, but otherwise, the genre conventions remain unchanged. The man on the trail of a mysterious woman is used to be exploited, and amid a pile of questions and corpses, he gradually realizes that from the start, it was about something different. Something involving sex, shooting, and a few broken hearts. Carl Franklin could have delivered it more compellingly, but some details are worth noting. The impressive Denzel Washington, various types of Cadillac wrecks, the cynical Tom Sizemore, the unrelated involvement of an overly active neighborly lumberjack, and last but not least, the crazy Texan Mouse Cheadle, in whose vicinity it’s not safe. “If you ain't want him dead, why you leave him with me?” ()

kaylin 

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English Denzel Washington usually doesn't disappoint, and surprisingly, he doesn't disappoint in this noir film either, which feels a bit too contrived to have the right dark yet masculine atmosphere with explosive scenes. It's too contrived and not gritty enough. Still, I like the fact that in the 90s they made films like this. ()

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