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'16 Blocks': Mos Def steals the show

By BOB LONGINO
The Atlanta Journal-Constitution

Bruce Willis needs to thank Mos Def.

Willis' co-star is by far the best reason to see "16 Blocks," director Richard Donner's New York City action film that moves fastest every time Def's entertaining streetwise character opens his motormouth.

Warner Brothers Pictures

'16 Blocks'

C+

The verdict: Action movie is worth watching only when Mos Def is onscreen.

Director: Richard Donner
Starring: Bruce Willis, Dante 'Mos Def' Smith, David Morse, David Zayas, David Sparrow
Run time: 105 minutes
Release date: March 3, 2006
Rating: PG-13 for violence, intense sequences of action, and some strong language.
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The story's premise is simple if not hackneyed. Willis plays tired old cop Jack Mosely — alcoholic, unshaven, his feet shuffling from one gofer-style assignment to another.

Jack gets the privilege of escorting an imate to the courthouse to testify before a grand jury. As you have already guessed, it's 16 blocks from the holding cell to the courthouse steps. And, by the way, the inmate is fast-talker and superb mumbler Eddie Bunker, played by Def.

En route, Jack discovers there's a passel of men with guns intent on icing Eddie before he can testify. And, whoa, Jack's gotta adjust when the adrenaline starts pumping.

So they run. And run. And shoot guns. And dodge bullets, all as Eddie runs his mouth.

That's your movie. And it goes from one implausible situation and hail of bullets to the next outlandish moment and more gunfire. There are also moments of extreme, flat dullness — those generally being the moments when Def isn't talking.

As Eddie, Def brings studied nuance to his character, shifting his body just so, twirling the occasional word around his tongue, all the while instilling life into his character.

Willis' turn is old-school Bruce Willis acting. Think of his Jack Mosley as a tired, worn-out and off-the-wagon John McClane (the "Die Hard" movies). He almost keeps up with Def, but doesn't.

Actionwise, the film is kind of like "Speed" minus the physical entertainment factor. And once Def goes offscreen for the big finish (it is, after all, Willis' movie), the film effectively implodes, becoming drama unworthy of even the USA Network.

Def onscreen is another matter.

For that, moviegoers should thank him, too.