Renegade cop Jack Caine (Dolph Lundgren) isn't about to let the rules of police procedure prevent him from single-handedly wiping out the White Boys, yuppie drug dealers who killed his partner and stole a ton of heroin from the Houston Police Department, bringing down the wrath of the DEA on Caine's head. But Caine's headstrong ways are creating friction...read more
Renegade cop Jack Caine (Dolph Lundgren) isn't about to let the rules of police procedure prevent him from single-handedly wiping out the White Boys, yuppie drug dealers who killed his partner and stole a ton of heroin from the Houston Police Department, bringing down the wrath of the DEA
on Caine's head. But Caine's headstrong ways are creating friction on every front. His superiors want him to lie low; his coroner girl friend, Diane (Betsy Brantley), wants him to make a commitment to their relationship; and his new by-the-book partner, Smith (Brian Benben), brought in to
investigate the drug theft and the subsequent murder of several key White Boys, wants him to shape up and toe the line, pronto. Caine's instincts tell him there's more to this matter than meets the eye, and he's right. The first clue is the murder weapon used in the White Boys' massacre--a
vibrating disk like nothing Caine or Smith has ever seen. The second is a series of drug-related killings that have Diane--and everyone else--very puzzled. The corpses are full of heroin, but the cause of death isn't overdose. As you might guess, Caine and Smith don't follow the department manual
in their pursuit of answers. Before you know it, they are hot on the trail of a vicious drug dealer from outer space, a giant blond alien who shoots his victims full of dope, then uses otherworldly technology to extract endorphins from their brains, synthesizing them into a substance to be peddled
to addicts on his home planet. The alien pusher is, in turn, being pursued by an alien cop, who warns Caine and Smith that if their quarry isn't stopped, he'll pave the way for thousands of intergalactic drug thugs to come to earth and slaughter its population. Putting their differences aside,
Smith and Caine team up to confront the alien dealer with their version of the "Just Say No" campaign.
Above all else, I COME IN PEACE (originally titled DARK ANGEL) is a stupid movie whose premise recalls both 1983's precious LIQUID SKY (in which aliens get high from human endorphins) and the more recent HIDDEN (in which an alien cop and criminal get mixed up in human crimes). Moreover, the deadly
disk that plays a central role in I COME IN PEACE appears to have been inspired by PHANTASM's flying ball and by the alien weapon in 1980's low-rent WITHOUT WARNING (which itself is greatly indebted to PREDATOR). This isn't to say that I COME IN PEACE is any more derivative than the average
exploitation film--only that its influences are painfully obvious. General dumbness aside, I COME IN PEACE benefits from better-than-average production values (in particular, the cinematography is unusually rich and evocatively lit) and taut direction by former stuntman Craig Baxley, who made his
directing debut with the neo-blaxploitation picture ACTION JACKSON. To Baxley's credit, the narrative moves at such a quick clip that the threadbare story has little time to grate on the nerves, and the onscreen stunts belie the film's limited budget. (Violence, profanity, drug abuse.)
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