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　　黑帮继承人之间为了争夺下一任社团领袖之位在地底展开厮杀，却引出某种未知的生物,这是作家夫妻二人笔下的故事，也是他们现实生活的映照，小说中的角色要在虚构的世界对抗未知的怪物,而作家夫妻二人能否在真实世界对抗已知的痛苦?一切,都交给爱去解答。

60年代末朝鲜半岛南北局势紧张，双方都展开了疯狂的间谍与刺杀行动。1968年1月，康仁灿（薛景求饰）因谋杀罪名成立而被判死刑的，在行刑前突然被召到拘留室，与特种部队军官讨论替代死刑的条件，他将被送到西南部荒岛实尾岛接受特别军事训练。同时，另外30名死囚也接受了特种部队军官的条件，被征召到实尾岛执行特别任务。
这31名死囚乘坐渔船到达实尾岛后，便在上级崔在贤中尉（安圣基饰）宣布下，组成了以刺杀朝鲜元首金日成为目标的“684北派部队”，并随即接受一连串地狱式的体能和军事训练。
可是在三年后，由于韩国政府国策的改变，“684北派部队”的计划被取消，31名队员则前途未卜。他们纷感被国家出卖，只能设法自救

　　在胡金铨的年表中，《忠烈图》似乎恰成分水岭，此后他对影片中武打场面的经营渐渐递减，开始强调更多形而上的思维。本片描述明朝一群忠义侠士，抵御倭寇入侵的故事，最精彩处在于胡导大量以「棋盘」布阵的创意，藉以比喻敌我双方的对峙。除了徐枫、白鹰等班底，片中还能看到洪金宝、元彪、元华这些后来的武打明星的年轻模样。

　　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.