Mel Gibson set aside his art-house credentials to star as a crazy cop paired with a stable one (Danny Glover) in this full-blown 1987 Richard Donner action picture. The most violent film in the series (which includes three sequels), Lethal Weapon is also the edgiest and most interesting. After Gibson's character jumps off a building handcuffed to a man, and Gary Busey (as a cold, efficient enforcer) lets his hand get burned without flinching, there is a sense that anything can happen, and it usually does. Donner's strangely messy visual and audio style doesn't make a lot of aesthetic sense, but it stuck with all four movies. --Tom Keogh
The lightest of the first three films, Lethal Weapon 3 finds everyone occupying comfortable positions like students who always choose to sit in the same classroom seats. Mel Gibson and Danny Glover return as LAPD partners whose working method consists of the former diving into danger and the latter holding back. (The sequence set in the parking garage of a building, in which Gibson inadvertently trips a switch that makes a timed explosive device speed up, is priceless.) Joe Pesci once again plays a motor-mouth pest, and while the story is pretty much forgettable, it does introduce the best new dynamic in the series, a romance between Gibson and Rene Russo's equally tough but attractive cop. --Tom Keogh
The series formula started to kick in with this immediate sequel to Lethal Weapon, but that doesn't necessarily make it a weak movie. Joe Pesci joins the fold, Richard Donner directs again, and Mel Gibson and Danny Glover return as LAPD partners, their relationship smoother now that Gibson's character has recovered from his maddening grief over his wife's death. But the reckless Mel and cautious Danny equation, good for a million laughs, settles into place in this story involving a South African smuggler and a new girlfriend (Patsy Kensit) for Gibson. The movie is hardly comfy, though. The last act gets nasty, and a climactic fight between Gibson (who gets the worst of it) and some high-kicking villain is ugly. --Tom Keogh
In the fourth and reportedly final film of the Lethal Weapon series, director Richard Donner reunites with Mel Gibson and Danny Glover, who reprise their roles as Martin Riggs and Roger Murtaugh for one last hurrah in a film that is decidedly better than the third and first chapters. This time the pair are pitted against Jet Li, who plays the leader of a Chinese organised crime unit. Li, a veteran of hundreds of Hong Kong action films, more than holds his own against the more established team of Gibson, Glover, Rene Russo and Joe Pesci with his subtle yet strong portrayal of the quietly irrepressible Wah Sing Ku. As always with the Lethal series, the plot is incredibly simple to follow: someone steals something, someone gets killed and Murtaugh is reluctantly thrown into the mix while Riggs dives into the case with gleeful aplomb. As with the previous movies, we watch for the sheer action and chemistry alone. The action sequences throughout the fourth instalment are exquisite, from the opening scene involving a flame-thrower, a burning building and a half-naked Murtaugh strutting like a chicken (don't ask, just watch), to the climactic showdown that pays genuine tribute to Jet Li's masterful martial art skills. As for chemistry, the bond between these characters is so strong by now that you sometimes feel like you're watching a TV series in its sixth season, such is the warm familiarity between the audience and the personalities on the screen. The humour is more fluid than ever, aided immeasurably by the casting of comedian Chris Rock, who like Li does a great job of making his presence known in some memorable verbal tirades that would bring a smile out of the Farrelly brothers. But it's the verbal and emotional jousting between Glover and Gibson that makes this fourth episode especially appealing; both are in peak form with great physical and verbal timing. One can only hope that if this is indeed the last of the Lethal films, that it won't be the last time we see Glover and Gibson together on screen. --Jeremy Storey
Mel Gibson set aside his art-house credentials to star as a crazy cop paired with a stable one (Danny Glover) in this full-blown 1987 Richard Donner action picture. The most violent film in the series (which includes three sequels), Lethal Weapon is also the edgiest and most interesting. After Gibson's character jumps off a building handcuffed to a man, and Gary Busey (as a cold, efficient enforcer) lets his hand get burned without flinching, there is a sense that anything can happen, and it usually does. Donner's strangely messy visual and audio style doesn't make a lot of aesthetic sense, but it stuck with all four movies. --Tom Keogh
The lightest of the first three films, Lethal Weapon 3 finds everyone occupying comfortable positions like students who always choose to sit in the same classroom seats. Mel Gibson and Danny Glover return as LAPD partners whose working method consists of the former diving into danger and the latter holding back. (The sequence set in the parking garage of a building, in which Gibson inadvertently trips a switch that makes a timed explosive device speed up, is priceless.) Joe Pesci once again plays a motor-mouth pest, and while the story is pretty much forgettable, it does introduce the best new dynamic in the series, a romance between Gibson and Rene Russo's equally tough but attractive cop. --Tom Keogh
The series formula started to kick in with this immediate sequel to Lethal Weapon, but that doesn't necessarily make it a weak movie. Joe Pesci joins the fold, Richard Donner directs again, and Mel Gibson and Danny Glover return as LAPD partners, their relationship smoother now that Gibson's character has recovered from his maddening grief over his wife's death. But the reckless Mel and cautious Danny equation, good for a million laughs, settles into place in this story involving a South African smuggler and a new girlfriend (Patsy Kensit) for Gibson. The movie is hardly comfy, though. The last act gets nasty, and a climactic fight between Gibson (who gets the worst of it) and some high-kicking villain is ugly. --Tom Keogh
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