DMX has proven that he is one of rap music’s biggest bad asses. Moving that image to the big screen is a little more difficult, especially when placed next to Steven Seagal (“Under Siege,” “Above the Law”), an actor known for nothing other than being mean and tough.

In “Exit Wounds,” DMX (“Belly,” “Romeo Must Die”) is successful, for the most part, in thriving in his image as he rolls around in his phat cars, flashes his expensive jewelry and pounds on a few guys.

But DMX is pretty much the highlight of “Exit Wounds,” as it is a less than innovative action flick with some substance in the story and only two cool action sequences worth talking about.

Seagal plays Orin Boyd, an overachieving Detroit cop with a knack for disobeying authorities and beating up anyone no matter what the odds are. Hard to believe isn’t it.

Orin finds himself in the middle of a huge drug ring filled with dirty cops. He comes face to face with Latrell Walker (DMX), a filthy rich electronics genius who works to expose bad cops in order to free his falsely-accused brother from jail.

Orin is hard pressed to find anyone he can trust on the police force because people are trying to kill him from every angle.

Let’s be serious, if anyone goes to “Exit Wounds” looking for a cinematic masterpiece, they should kick themselves for thinking Seagal will ever do anything besides a shallow action movie.

The box office figures for the film are astounding; this has been the best opening weekend for any Seagal movie ever. Some are saying this film is rejuvenating Seagal’s career. It might be accomplishing that, but don’t expect anything new or exciting in “Exit Wounds.”

The only thing that sets this movie apart from every Seagal movie is that DMX is the co-star.

Watching the movie, you almost feel embarrassed for Seagal that he would play the exact role that he plays in every single film. He’s got an attitude, he’s tougher than nails, he gets in trouble for always using excessive force, he always finds himself in positions to save the day by beating up numerous people and he is pimpin’ a lady.

Throw all that in with a few one-liners intended for some laughs, slicked back hair and a bad-ass vehicle, and you have the ultimate Seagal role. It’s like he sends out a contract that says, “My character must do all of these things, or I won’t be in the movie.”

So in other words, Seagal is no worse or better than he has ever been, he’s just Seagal.

DMX’s acting is pretty good, but he should never quit rapping to act full time. More than half of his lines are done with believability and emotion, while the others are more just going through the motions.

Tom Arnold (“True Lies”) is put into “Exit Wounds” mainly to provide a comedic voice as a member of Orin’s anger management therapy group and someone who helps him out with some information. Only problem is, Arnold just isn’t that funny. Not until the closing credits when they show snippets of him probably doing his own material.

Anthony Anderson (“Me, Myself and Irene,” “Urban Legends”) is also used as a comedic tool but with a bit more success. As DMX’s sidekick, he is the guy that talks the talk but can’t walk the walk.

Cinematographer-turned-director Andrzej Bartkowiak (“Romeo Must Die”) didn’t have a whole lot to work with but was able to put together a rather presentable film.

Some of the special effects in the fighting scenes were effective, and others were just to hard to believe. And of course, the filmmakers couldn’t go without driving a car out a high window only to land with no problems and keep driving.

This is just an average action movie and is only worth seeing if you are a DMX fan. Others just won’t understand how cool he is and why watching him on the big screen is quite a treat.

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