Kinda 'Bulletproof'

Courtesy of United Artists Arizona Daily Wildcat Damon Wayans as Keats and Adam Sandler as Archie Moses in "Bulletproof"

The American cop buddy movie: it's as predictable as Shakespeare, but it still packs a wallop. Like "Hamlet," the differences aren't in the story - you already know pretty much what's going to happen - the differences are in the nuances. It could be "Leth al Weapon VI," "Die Hard III," or "Turner and Hooch" . . . the plot differences are all pretty minor.

The cops are loners, forced to work together by the fickle hand of fate. One is good and incorruptible. The other, a born rebel - he gets the job done, but he does it his way. They can't get along at the beginning of the film, but the actions of the force s of evil compel them to compromise their heartfelt beliefs, make friends, and fight as one against the powers of darkness. Evil always loses, good always wins.

That said, "Bulletproof" is pretty much the quintessential 90's incarnation of this age-old story. It ain't the 50's cop-show "Dragnet," that's for sure, when the cops were cops and the crooks were crooks. But it also isn't "Rambo," a film that starred Sy lvester Stallone as a crazed Vietnam vet rampaging around rural Oregon. Morality is clearly defined, even if it means that Keats (Damon Wayans) has to learn not to play strictly by the book.

The film is casually experimental; eclectic, but accessible; understated in tone but intriguing in texture. What emerges from all this is a kind of inverted "48 Hours." The straight-laced Nick Nolte character is played by Wayans, while Adam Sandler plays a crazy whiteboy similar to Eddie Murphy's good-natured criminal. Both actors have done better work, but considering their track records, not many comic duos can compare. If you're not familiar with Sandler's or Wayans' work, "Bulletproof" is an excellent introduction to two of America's best young actors and their respective styles.

For Damon Wayons, the film is merely an extension of the beat he's been working for years. At some point after making the Fox series "In Living Color" he decided to give up parodying black exploitation films and started making them. In both "Low Down Dirt y Shame" and the hilarious "I'm Gonna Git You Sucka," he developed the personality of the tough but honest cop. He's a lover, he's a fighter - sure he's a little goofy, but he always gets his man.

Although both Adam Sandler films "Billy Madison" and "Happy Gilmore" are considered classics of modern comedy, "Bulletproof" lacks the surreal touches of those other Sandler-scripted works. This is not an Adam Sandler movie, it's just one he happens to be in, but it does have some classic Sandler moments in it, including an excellent parody of "The Bodyguard", jokes about his mom smoking reefer, and the scene where he quizzes some backwoods country bumpkin motel owner about porno channels and deviant beha vior . . . that's funny stuff.

It seems that Sandler is the only one in this film breaking new ground by actually killing people and blowing stuff up. James Caan reprises his bad guy role from this summer's "Eraser." He's great, of course . . . that whole "Wrath of Caan" thing.

But whatever. "Bulletproof" is good. Not great, maybe, but better than most of the other stuff getting released these days. Lots of explosions, violence, and juvenile humor combined with excellent post-production work on the editing and soundtrack make fo r an enjoyable, but easily forgettable film.