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National Security

 
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National Security

  • Director: Dennis Dugan
  • AMG Rating: star
  • Genre: Action
  • Movie Type: Odd Couple Film, Crime Comedy
  • Themes: Unlikely Heroes, Bumbling Cops, Police Corruption
  • Main Cast: Martin Lawrence, Steve Zahn, Colm Feore, Bill Duke, Eric Roberts, Timothy Busfield, Robinne Lee, Joe Flaherty
  • Release Year: 2003
  • Country: US
  • Run Time: 88 minutes
  • MPAA Rating: PG13

Plot

Adversaries become wary allies in this free-wheeling action comedy. Hank Rafferty (Steve Zahn) is a Los Angeles Police Department officer who finds himself out of a job after he becomes involved in a violent altercation with police academy flunk-out Earl Montgomery (Martin Lawrence), escalating into a media event which brings the LAPD a wealth of bad publicity. Unable to find work, Hank finally takes a job as a "rent-a-cop" with a private security firm -- and discovers to his annoyance that his new partner is Earl. While neither of them are thrilled to be working together on the lowest strata of the law enforcement community, the two find themselves dealing with bigger crime than they expected when they stumble across evidence of a elite smuggling network operated by criminal mastermind Nash (Eric Roberts). Hank and Earl want to put Nash out of business, and they try without success to persuade the police of the importance of the case. But before long they discover it's not just Nash's men who are after them, but two high-ranking LAPD officials, Lt. Washington (Bill Duke) and Detective McDuff (Colm Feore). National Security was directed by Dennis Dugan, who'd previously helmed antic comedies starring Adam Sandler and Chris Farley; this film also marked Martin Lawrence's entry into the elite of Hollywood's comedy stars, with Lawrence taking home a 20-million-dollar paycheck for his work on the picture. ~ Mark Deming, All Movie Guide

Cast

Matt McCoy - Robert Barton; Brett Cullen - Heston; Cleo King - Woman in Car; Stephen Tobolowsky - Billy Narthax; Amy Aquino - Councilwoman; Mike Brady - Smith; Carl Ciarfalio - Stanton; Keith Cooke - Ang; Maia Danziger - Jaguar Lady; Hal Fishman - Himself; Troy M. Gilbert - Cain; Robert Harvey - Cop at Impound Yard; Benjamin Hernandez - Detective; Ken Lerner - Hank's Lawyer; Dawnn Lewis - Woman at Impound Yard; Mark Lonow - Detective at Interrogation; Richardson Morse - Detective; Anthony Schmidt - Eddie; Mickey Gilbert - Driving Instructor; Jocko Marcellino - Sarcastic Cop; Terry Logan - LAPD Cop; Bruce Franklin - Training Facility Officer; Hiep Thi Le - McDuff's Secretary; Mari Morrow - Lola; Daniel Sudick - Training Facility Officer; Jonathan Loughran - Sarcastic Cop; Jeff Ross - Security Guard; Noel Guglielmi - Latino Convict; Jackie Flynn - Guard in Solitary; Wayne Morse - Bailiff; Margaret Travolta - Judge; Bobby McLaughlin - Ashcroft; Greg Serano - Carjacker; Joe Bucaro III - Bratton; John Henry Binder - Cop at Impound Yard; Gerry Del Sol - Booking Clerk; Leslie Jones - Trucker Woman; Tom Forrest - Obnoxious Guy; Mike Grasso - Training Cop; Andy Dugan - Student Driver; Amanda Van Roberts - Rich Lady

Credit

Christa Munro - Art Director, Felicia Fasano - Casting, Mary Vernieu - Casting, Anne McCarthy - Casting, Scott Strauss - Co-producer, Andy Given - Co-producer, Sharon Dugan - Co-producer, April Ferry - Costume Designer, Paula Truman - Costume Designer, Bruce Franklin - First Assistant Director, Conte Mark Matal - First Assistant Director, Hans Berggren - First Assistant Director, Dennis Dugan - Director, Mickey Gilbert - Second Unit Director, Debra Neil-Fisher - Editor, Martin Lawrence - Executive Producer, Moritz Borman - Executive Producer, Nigel Sinclair - Executive Producer, Guy East - Executive Producer, Andrea Young - Hair Styles, Murray Miller - Location Manager, Randy Edelman - Composer (Music Score), Michele Kuznetsky - Musical Direction/Supervision, Mary Ramos - Musical Direction/Supervision, Denise Fischer - Makeup, Michael Troy Waters - Makeup, Captive Audience Prods. - Makeup Special Effects, Joe Chess - Camera Operator, Kriss Krosskove - Camera Operator, Larry Fulton - Production Designer, Oliver Wood - Cinematographer, Jeffrey Silver - Producer, Bobby Newmyer - Producer, Michael Green - Producer, Joseph Geisinger - Production Sound, Douglas Mowat - Set Designer, Chad S. Frey - Set Designer, Lorrie Campbell - Set Designer, Elton Ahi - Sound Mixer, Stan Rice - Stunts Coordinator, Mickey Gilbert - Stunts Coordinator, Mike Grasso - Technical Advisor, Jeffrey Silver - Unit Production Manager, Jay Scherick - Screenwriter, David Ronn - Screenwriter, Don McCuaig - Second Unit Director Of Photography, James W. Roberson - Second Unit Camera, Lowell Peterson - Second Unit Camera, David D. Johnson - Visual Effects Supervisor, Michael O'Farrell - Sound Effects Editor, Cindy Marty - Sound Effects Editor, Patrick J. Don Vito - Associate Editor, John Finklea - Music Editor, Derek Jan Vermaas - Production Coordinator, Michelle Morrissey - Production Supervisor, Gary Bourgeois - Re-Recording Mixer, Greg Orloff - Re-Recording Mixer, Jon Taylor - Re-Recording Mixer, Susan Bierbaum-Owen - Script Supervisor, Daniel Sudick - Special Effects Coordinator, George Anderson - Supervising Sound Editor, Howard London - ADR Mixer, Howard London - ADR Recordist, Alex Newman - Casting Associate, Freddy Luis - Casting Associate, Paula Truman - Costumes Supervisor, James Matheny - Dialogue Editor, Gary A. Hecker - Foley Artist, Matthew Dettmann - Foley Artist, JoAnn Strafford-Chaney - Key Hairstylist, Nadyne Hicks - Key Make-up, Joan Cunningham - Second Unit Assistant Director, Dieter H. Busch - Second Unit Assistant Director, Raymond Consing - Storyboard Artist, Darryl Henley - Storyboard Artist, Peaches Davis - Co-Executive Producer, Jeffrey Kwatinetz - Co-Executive Producer, Lee French - ADR Loop Group, Larry Kemp - ADR Supervisor, Lane Burch - Foley Mixer, Jonathon Klein - Foley Supervisor, Robert Olmstead - Special Effects Foreman, Debra Denson - Department Head Makeup

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Hoover's Profile: Security National Financial Corporation
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(NASDAQ (GM):SNFCA)
Company Financials
Income Statement
Balance Sheet
Cash Flow Statement

Contact Information
Security National Financial Corporation
5300 S. 360 West, Ste. 250
Salt Lake City, UT 84123
UT Tel. 801-264-1060
Toll Free 800-574-7117
Fax 801-265-9882

Type: Public
On the web: http://www.securitynational.com
Employees: 935
Employee growth: 35.9%

There are three certainties -- life, death, and mortgage payments -- and Security National Financial has you covered on all fronts. Its largest unit, Security National Mortgage, makes residential and commercial mortgage loans through more than 20 offices in a dozen states. Its Security National Life, Security National Life of Louisiana, and Memorial Insurance Company subsidiaries sell life and health insurance, annuities, and funeral plans in about 40 states. Security National Financial also owns about 20 mortuaries and cemeteries in Utah, Arizona, and California.

Key numbers for fiscal year ending December, 2008:
Sales: $219.5M
One year growth: 4.7%
Net income: $0.6M
Income growth: (74.6%)

Officers:
Chairman and CEO: George R. Quist
President, COO, and Director: Scott M. Quist
VP, CFO, and Treasurer: Stephen M. Sill

Competitors:
JPMorgan Chase
MetLife
State Farm

Stock Quote: National Security
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US Supreme Court: National Security
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The Constitution distributes the power to “provide for the common defense” between the legislative and executive branches of the federal government. This distribution of authority over national defense has been characterized by Edward S. Corwin in The President: Office and Powers 1787–1957 as “an invitation to struggle” (p. 171). Certainly, there have been struggles, but it seems closer to the framers' intent to say that the effective use of the constitutional arrangements for national security requires cooperation between Congress and the president. The role of the judicial branch is to monitor the constitutional boundaries between the other two branches and to protect civil liberties when they are threatened by efforts to secure the national defense. In pursuing this role, only rarely have the courts had any significant impact on the decisions of the political branches.

The “judicial power,” besides its general jurisdiction over cases arising under the Constitution, laws, and treaties, is made explicitly responsible for certain matters touching on national security, such as cases affecting ambassadors and consuls, those involving admiralty and maritime jurisdiction, and those in which treason is alleged. The Constitution defines treason quite precisely, limiting it to “levying war” against the nation or giving “aid and comfort” to its enemies. For conviction, it requires testimony by two witnesses to the same overt act or confession in open court. Rarely, if ever, however, have cases falling under these definitions had a central bearing on the conduct of national security policy.

Role of the Courts

Instead, the Supreme Court has more typically determined whether each branch has played its proper constitutional role in the initiation and conduct of military conflict. In such cases, the Court has usually deferred to the political process.

During the Civil War, for example, ship owners challenged President Abraham Lincoln's blockade on grounds that, when their property was seized, Congress had not yet declared war or otherwise signaled its cooperation in the use of armed force. The Court, albeit by the narrowest of majorities, rejected this argument, noting that the president had responded to an armed attack and Congress had supported his action as soon as it could.

When confronted by a sharp disagreement between Congress and the president, however, the Court has shown less deference. In 1952, during the Korean War, President Harry S Truman cited his responsibilities as commander in chief and his inherent powers as chief executive as the basis for his power to seize steel mills that were threatened by a strike. The Court responded, in *Youngstown Sheet & Tube v. Sawyer (1952), that the president's power must come either from a statute, which everyone agreed Congress had refused to provide in this case, or from the Constitution. Power to seize private property could not be inferred, said the Court, either from the Vesting Clause or from the president's designation as commander in chief; to do that would make presidential power boundless. The Court therefore ordered that the mills be returned to their owners.

In protecting civil liberties, the Court has been unwilling to insist on an absolute interpretation of First Amendment rights of free speech and association against claims based on national security. During World War I, Congress passed legislation making it a crime to circulate false statements intended to interfere with military success or to utter or publish words intended to bring into contempt the government, Constitution, or flag of the United States. Nearly a thousand people were convicted under these statutes. Applying the “clear and present danger” test, the Court upheld convictions under these laws in Schenck v. United States (1919). During the Cold War, in such cases as Dennis v. United States (1951), the Court upheld convictions of leaders of the Communist Party for willfully conspiring to teach and advocate the overthrow of the government by force and violence (see Communism and Cold War). In United States v. Nixon (1974), the Court implied that if President Richard *Nixon's claim of executive privilege had been grounded on the “need to protect military, diplomatic or sensitive national security secrets,” it might have succeeded.

On the other hand, the Court has occasionally shown a willingness to confront a president's claim of national security interests with powerful countervailing considerations based on First Amendment freedoms. In New York Times Co. v. United States (1971), the Court refused to prevent the publication of the Pentagon Papers, invoking the rule against “prior restraint.” Because nine opinions accompanied the short per curiam decision, from which three of the justices dissented, the case left no clear precedent.

Freedom of speech, association (see Assembly and Association, Citizenship, Freedom of), and the press are not the only civil liberties that suffer in the conflict with national security. During the Civil War, having at first challenged the president's power to suspend habeas corpus, Chief Justice Roger B. Taney did not pursue the matter in the face of Lincoln's apparent refusal to accept the writ (Ex parte Merryman, 1861). Nor did the Court effectively resist the policy by which the Lincoln administration subjected more than thirteen thousand persons to arrest without warrant, detention without trial, and release only after the danger had passed. Ultimately, the Court produced a magisterial reaffirmation of the right of civilians to a fair trial, but not until the war was over (Ex parte Milligan, 1866).

Similarly, during World War II, the Supreme Court found no constitutional obstacle to the relocation and internment of Japanese‐American citizens (Hirabayashi v. United States, 1943; Korematsu v. United States, 1944). Again, it was not until after the war that the Court sought to repair the damage (Duncan v. Kahanamoku, 1946). The issue of judicial restraint on presidential power in the field of national security arose again in 2004, when the Court ruled, on a procedural issue, that detainees at Guantánamo Bay were entitled to legal representation and a hearing on court. How federal courts might rule on the merits, in a case pitting a prisoner at Guantánamo against the administration, is unclear.

Since 1950, a Shifting Balance

Historically, from the founding until the middle of the twentieth century, the need for the branches to cooperate, as the framers intended, was reinforced by two deep‐seated cultural traditions: resistance to the maintenance of a standing army in peacetime and reluctance to enter into “entangling alliances.” Because of these commitments, political leaders in both branches approached each looming conflict on its own terms and had to persuade each other and the nation of the need to prepare for armed conflict and to send troops into battle. Small engagements required no major mobilization, and presidents were often able to begin and end them without much public debate, although consultation with congressional leaders routinely took place in such circumstances.

After World War II, the usual pattern of radical demobilization began, but soon the Cold War settled in, and the nation reluctantly agreed to abandon these historic commitments. The Truman administration negotiated and the Senate ratified a set of mutual defense treaties and other agreements (the North Atlantic Treaty of 1949 was the most important), by which the United States agreed to join with other nations in resisting communist aggression. Some of these agreements stated that an attack on any of the nations in the alliance would be viewed as an attack on all of them, and each would respond in accordance with its own constitutional procedures. As debates during the Constitutional Convention of 1787 had made clear, the president alone, under the Constitution, has power “to repel sudden attacks.”

Congress and the president decided that the nation's responsibilities for defense of the “free world” required a massive military establishment. These armed forces included nuclear weapons mounted on rockets capable of devastating a foreign nation in a matter of hours. Since both sides had such weapons, command over the American arsenal had to be in hands capable of acting quickly.

These new facts greatly affected the balance of constitutional war powers. No longer would leaders in Congress and the administration have to seek political support for a mobilization of armed forces to meet a specific threat; they were continually ready. No longer would the president need authorization to respond when he or she perceived a communist threat; it was already there, in the treaties and agreements of the Cold War and in the consensus from which these agreements arose.

These arrangements fortified Presidents Harry Truman and Lyndon Johnson when they led the nation into war in Korea and Vietnam, respectively. Both wars were entered into without a congressional declaration. But when they proved to be prolonged and deadly, they exacted high political costs.

As the Vietnam War dragged on, many people began to question whether the constitutional distribution of war powers was still capable of ensuring that the use of military force required the cooperation of the political branches. In due course, some of the questions were presented to the courts. Young men drafted into military service challenged the government's power to make them fight in an undeclared war (DaCosta v. Laird, 1973). Members of Congress challenged the president's power to wage war without a declaration (Holtzman v. Schlesinger, 1973). In each case, the courts refused to intervene, noting that former presidents had, on more than two hundred separate occasions, sent military forces into combat without a formal declaration of war, that control over the use of military forces was committed by the Constitution to the political branches, and that Congress had many ways of resisting a president's policy, if it chose.

Only near the end of the war, in a case brought by thirteen members of Congress (Mitchell v. Laird, 1973), did a federal court finally acknowledge that appropriations ought not to be taken as indication of congressional support for the president's policy. “This court [the Court of Appeals for the District of Columbia] cannot be unmindful of what every schoolboy knows: that in voting to appropriate money or to draft men a Congressman is not necessarily approving of the continuation of a war” (p. 615). In the same opinion, however, Judge Charles Wyzanski, noting that President Nixon's stated policy was to bring the war to an end, held that the courts could not second‐guess his strategy, and he refused to grant the congressmen's plea that the president be enjoined from prosecuting the war.

Frustration with the operation of the system during the Vietnam War led Congress to enact, over President Nixon's veto, the War Powers Resolution of 1973. Presented in its preamble as a fulfillment of the framers' intent, it enjoined the president to “consult” with “Congress” (neither term was defined in the legislation) before introducing armed forces into hostilities and to report to Congress within forty‐eight hours whenever he or she did so. It further required the president to remove the troops, unless Congress specifically affirmed the engagement, within sixty days and gave the chief executive an additional thirty days to accomplish the evacuation.

Every president since Nixon has regarded the War Powers Resolution as an unconstitutional invasion of powers provided by the Constitution. On the other hand, presidents have generally sought to abide by its requirements. Thus, in 1983, Ronald Reagan secured a resolution from Congress authorizing the commitment of troops in Lebanon for eighteen months. In 1991, George H. W. Bush sought and obtained a congressional resolution to undertake military action against Iraq to liberate Kuwait. And in October 2002, Congress authorized the George W. Bush to attack Iraq if Saddam Hussein refused to give up weapons of mass destruction, as required by a series of United Nations resolutions. In each case, the president insisted that he did not need Congress's permission to take the nation to war, but did ask for, and received, resolutions of support.

Lawsuits seeking court enforcement of the resolution have been unsuccessful. In cases such as Crockett v. Reagan (1982), the federal courts have rejected claims by members of Congress on grounds that the facts are ambiguous and that the controversy had best be pursued by congressional majorities, acting through legislation, rather than by individuals or groups of members bringing suit.

Justice Robert Jackson summed up the jurisprudence of national security in his eloquent dissent from the Supreme Court's acceptance of the internment of Japanese‐Americans in Korematsu v. United States: “If the people ever let command of the war power fall into irresponsible and unscrupulous hands, the courts wield no power equal to its restraint. The chief restraint upon those who command the physical forces of the country … must be their responsibility to the political judgments of their contemporaries and to the moral judgments of history” (p. 248).

See also Foreign Affairs and Foreign Policy; Separation of Powers.

Bibliography

  • David Adler, The Constitution and Presidential Warmaking, Political Science Quarterly 103 (Spring 1988): 1–36.
  • Charles A. Lofgren, “Government from Reflection and Choice”: Constitutional Essays on War, Foreign Relations, and Federalism (1986).
  • H. Jefferson Powell, The President's Authority over Foreign Affairs: An Essay in Constitutional Interpretation (2002).
  • Clinton Rossiter, The Supreme Court and the Commander in Chief (1951).
  • Abraham D. Sofaer, War, Foreign Affairs and Constitutional Powers: The Origins (1976)

— Donald L. Robinson

US Military Dictionary: national security
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A collective term encompassing both the national defense and foreign relations of the United States. Specifically, national security is the condition provided by:

a. a military or defense advantage over any foreign nation or group of nations,
b. a favorable foreign relations position, or
c. a defense posture capable of successfully resisting hostile or destructive action from within or without, overt or covert.

See the Introduction, Abbreviations and Pronunciation for further details.

Wikipedia: National Security (film)
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National Security

Poster for National Security.
Directed by Dennis Dugan
Produced by Moritz Borman
Martin Lawrence
Peaches Davis
Nigel Sinclair
Jeff Kwatinetz
Written by Jay Scherick
David Ronn
Starring Martin Lawrence
Steve Zahn
Music by Randy Edelman
Cinematography Oliver Wood
Editing by Debra Neil-Fisher
Distributed by Columbia Pictures
Release date(s) January 17, 2003
Running time 88 minutes
Country United States
Language English
Gross revenue $50,097,949 (worldwide)

National Security is a 2003 comedy film, directed by Dennis Dugan, starring Martin Lawrence and Steve Zahn. In addition to Lawrence and Zahn, National Security boasts an additional cast of Bill Duke, Eric Roberts, Colm Feore, Matt McCoy, and others.

The film was released in January 2003 and went on to gross over $53,000,000 at the box office. The film was shot at various locations in Greater Los Angeles, including Long Beach and Santa Clarita.

Contents

Plot

A gang of thieves break into a high-security warehouse. An alert is sent to the police, but canceled for unknown reasons. Despite this, two LAPD patrol officers, Hank Rafferty (Zahn) and his partner Charlie (Timothy Busfield), decide to check it out anyway. As they split up to search the warehouse, someone shoots at Charlie, killing him, before the thieves drive away, leaving Hank in a state of shock.

Earl Montgomery's (Lawrence) lifelong dream is to become a police officer. He passes the entrance exam with flying colors, but his promising performance during training is hampered by his unshakable conviction that all black persons are innocent victims of white racism. For instance: confronted by cardboard cutouts of an armed gang, Earl shoots all of them except the black one, explaining to his incredulous instructor that the black one is obviously an innocent bystander. Earl is finally expelled from the police academy when he tries an outrageous stunt during a simulated car chase that results in a massive explosion on the obstacle course.

A dispirited Hank crosses paths with Earl when Hank notices Earl trying to get into his car when he finds his keys stuck inside. Suspicious, Hank starts to question Earl, who race-baits Hank to the point of getting himself arrested. As soon as he's cuffed, however, a bumblebee comes along, to which Earl is virulently allergic. Earl panics and Hank tries to swat the bee away with his nightstick. From afar, it looks like Hank, a white cop, is brutalizing a black suspect, a story that Earl eagerly backs up in Court. Disgraced, Hank is dismissed from the police force and convicted of aggravated assault by an all-black jury. He spends six months in prison, almost entirely in voluntary solitary confinement, due to death threats from the black inmates.

After being released from prison, Hank takes a job as a security guard and continues to investigate Charlie's death, despite his lack of access to police information. Noticing an alarm being tripped at a soft drink warehouse, then disabled, Hank notices the similarity with the earlier burglary, and goes to investigate.

Meanwhile, Earl, who happens to be working for the same security company, is on duty at the warehouse, but is taking time off for some role-playing with his girlfriend, Lola (Mari Morrow). When Hank arrives, he interrupts a burglary, and a gunfight erupts with the thugs, during which Hank and Earl cross paths again. Though the thugs get away, Hank recognizes the tattoo of the man who shot Charlie, whose name he learns is Nash (Eric Roberts).

One of the thieves dropped a cellular phone, which leads them to a semi truck rented by the killers. Inside, Hank and Earl find a van, which Hank recognizes from the earlier robbery. In a brief skirmish on a bridge, they drive the van out of the truck but the van falls off the bridge onto a garbage barge. Inside the van are what look like ordinary beer kegs, but Hank has them examined by a friend who works at a foundry, who informs them that the kegs are actually made of an aerospace alloy, which is worth millions.

Hank takes the van and the kegs to the house of his ex-girlfriend, Denise (Robinne Lee). They broke up after Hank was arrested, and, since Earl owes Hank for saving his life during the warehouse shootout, Hank orders Earl to tell Denise the truth about the "assault." However, when Earl sees that Denise is an attractive black woman, he forgets his promise and starts hitting on her, playing the victim again. She throws both of them out of the house, and when Hank asks for an explanation, Earl reveals that he disapproves of interracial dating. Hank is infuriated and points out that for all his talk about racism, it is actually Earl himself who is the racist. During the argument, Hank punches Earl and storms off. Earl runs back to Hank, just as they are both cornered by police, learning that they are wanted as suspects in the bridge shootout. After they manage to escape, Hank realizes that the thieves must have an inside man in the police department.

Tracing the van's owner to an address Hank and Earl stake out the place, but Earl foolishly rushes inside on his own, where he is confronted by Nash. Hank manages to get Earl to safety, but Earl takes a bullet in the leg. Since the police are looking for them, they can't go to a hospital, but instead return to Denise's house. She reluctantly agrees to treat Earl's wound (which is, in fact, little more than a graze). Fortunately for Hank, a bee flies into the house, and Earl runs for cover, making Denise realize that Hank's outlandish story about the "assault" on Earl was actually true. She throws Earl out of the house and reconciles with Hank.

Based on something overheard from Nash, they follow him to a meeting at a Yacht Club with Detective Frank McDuff (Colm Feore), the police traitor. Hank and Earl share everything they know with Lt. Washington (Bill Duke), and then pretend to approach McDuff, offering to sell him back the "beer kegs" for a large sum of money. However, Nash gets wind of their plans and takes Washington hostage first.

During the climactic confrontation, Earl and Hank meet with McDuff, Nash and his men near the coast, rescuing Washington and killing or apprehending most of the thugs, including McDuff. During the shootout, Hank saves Earl's life by warning him about a gunman taking aim at him, getting shot himself in the process. Though wounded, Hank takes off after Nash alone and kills him by dropping a crane load onto an unstable slab Nash is standing on, flipping him into the ocean.

In honor of their heroic actions, Hank is reinstated in the LAPD and Earl is admitted to the force, and they are made partners a short time later. While on patrol, Hank sees a suspicious-looking man trying to break into a car, but Earl assures him that the man has just locked himself out, and helps unlock the car. But as the man drives away, the car's real owner screams, and Earl, realizing his mistake, shoots the back tires out. He tells the owner she can "re-procure" her car, at which moment the car blows up, leaving both cops dumbfounded.

Cast

Music

The main songs are: "One of These Days" by Wu-Tang Clan, "95 South" by Cool Ade, "All Good" by De La Soul, and "N.S.E.W" by Disturbing Tha Peace.[citation needed]

Critical reception

The film was poorly received by critics, receiving a rating of 12% on Rotten Tomatoes.[1]

References

External links


 
 

 

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