Plot matters in National Security can be mercifully described as limited: The talented Zahn (utterly wasted here) plays LA cop Hank Rafferty, who loses his partner in a shootout. Meanwhile, police trainee Earl (Lawrence) is thrown out of the academy for his attitude. One idiotic mix up with Hank later leads to the cop losing his job, and his freedom, as Earl claims he's the victim of a Rodney King-style beating. After a spell in the State Penn, Hank joins the National Security firm, blissfully unaware of Earl's employment at the same agency until fate throws them together again. Or more to the point, a terribly lazy script lumps them together in the pursuit of thieves whose leader also happens to be the killer of Hank's former partner. How convenient.
Wheeling out the cliches like a badge of honour, National Security is content to trade off derivative, dated gags and stock scenarios of other films - the infinitely superior 48 Hours, Lethal Weapon come to mind - rather than plough any original furrow itself. The fact National Security isn't particular original is not a problem in itself. But that it is shows such limited ambition and a lack of wit is. An intensely annoying performer, Lawrence dominates proceedings with his low brow, bawdy sense of 'humour' (though the trade descriptions act might have something to say about that) and is content to play the race card at every opportunity. Zahn fares little better in his straight man role, but the real loser is anyone who pays to see this dross. You have been warned.
