Mike Regan（皮爾斯·布魯斯南 飾）擁有他想要的一切：美滿的家庭，一棟頂級(jí)的全智能別墅，而他的公司則將徹底改變航空業(yè)。直到他信賴的ITguy因?yàn)镽egan一家的冷落而失去理智，開始跟蹤他的女兒，監(jiān)視他的生活….往日依賴的全智能家居和汽車系統(tǒng)如今成為最大的安全隱患。隨著隱私的全面暴露，Regan一家陷入前所未有的恐慌，一場(chǎng)個(gè)人隱私和現(xiàn)代科技的博弈就此展開……

　　康拉德（Klaus L?witsch 飾）是前東德人民軍特種部隊(duì)的一名老兵。他受在阿富汗陣亡的戰(zhàn)友之托，照顧戰(zhàn)友的兒子羅伯特（托馬斯·克萊舒曼 飾）。兩德統(tǒng)一后，康拉德在一家大型能源企業(yè)擔(dān)任保安，而安保主管正是羅伯特。在某新型能源系統(tǒng)上線前夜，一批對(duì)西德不滿的前東德犯罪分子謀劃破壞這一系統(tǒng)的上線，意外地被羅伯特撞線。接著，羅伯特驚訝地發(fā)現(xiàn)，康拉德居然是這些犯罪者的內(nèi)應(yīng)......

　　市井騙子小莊（林更新 飾）機(jī)智卻愛(ài)耍小聰明，以一雙“快手”行走江湖，賭局中被“槍手”李若云（張靜初 飾）威脅，踏上找回傳國(guó)玉璽的尋寶之路。途中二人默契配合，與老頑童石佛（騰格爾 飾）、金三娘（劉曉慶 飾）夫妻二人組成“奪寶者聯(lián)盟”，與覬覦國(guó)寶的宋靜之（錦榮 飾）等斗智斗勇，奪寶途中一段段故事讓人啼笑皆非……

　　Having witnessed his junkie father killed Russell Stevens grows up to become a policeman and make a difference. When he is offered an undercover job by Gerald Carver he accepts and begins to build a relationship with David Jason in order to get to the main dealers. However as he is forced to deal drugs and kill to keep his cover he finds the lines between cop and criminal being lost – is he a cop pretending to be a dealer or a dealer pretending to be a cop?
　　Larry (as he was then) Fishburne's first lead role was a typically dark vehicle. The story is the usual one of cop losing himself when undercover, however it manages to be more than that for most of the time. Co-written by Tolkin, who wrote The Player, this naturally has a nice cynical edge to it when it looks at the US's hypocritical approach to drug control and the political links between the street hustlers and the political high rollers who court respectability. The story does eventually settle into a traditional setting but even then it works well as a thriller.
　　The multi-talented Bill Duke directs well with a gritty feel and a few nice touches. However several things are a bit iffy. For most of the film Fishburne's narration/voice over is a bit like a cross between Apocalypse Now and Blade Runner – it comes across as a little too dark and heavy and also explains things like we can't figure it out ourselves. However once you get into the film it's not as big a deal. My main problem lies with the characters.
　　Fishburne is excellent, a real model of underlying anger and violence, Goldblum is good but perhaps a little OTT on the yuppie/violence thing, but there's good support from Smith and Spin City's beautiful (and often underused – but not here) Victoria Dillard. However the two main white characters (Goldblum and Smith) are both smeared with racist insinuations – Smith appears to insult his black officers and doesn't care about the junkies, while Goldblum is fascinated about all things black and talks about them as wild beautiful beasts and loves having sex with "black'. These things aren't a major problem, but with basically only two white characters in it, it's a little worrying that both are given that edge.
　　However these are minor complaints that get lost with a good thriller. Fishburne excels and Duke delivers a story that is a good thriller but also has a jaded, subversive edge.