A veteran cop, Murtough, is partnered with a young homicidal cop, Riggs. Both having one thing in common, hating working in pairs. Now they must learn to work with one and other to stop a gang of drug smugglers.
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This is the buddy cop movie to end all buddy cop movies. With an excellent script from Shane Black, masterful direction from Richard Donner, and the electric chemistry of Mel Gibson and Danny Glover and you've got a pretty fucking great movie.
This is such a FANTASTIC film. I love the 80s early 90s action flicks, because most of them aren't spoiled by epileptic-Tony-Scotty-Paul-Greengrassy editing. They tend to energize the film by what's in the picture, and not by editing effects.
An almost perfect action movie with a good story and interesting characters played by good actors. The actions scenes are old school and carries emotional weight instead of flashy CGI-trickery and the chemistry between Glover and Gibson is also a success factor. For a 30 year old movie this one has aged gracefully and still outguns the current competition.
Richad Donner directed Superman, The Omen, and the Lethal Weapon movies. Any director that succeeds as much he did in such diverse genres, and whose films provide demonstrate such a strong influence on Hollywood films today requires study, respect, and a reevaluation.
Maybe I enjoy this one more than it deserves. But I don't care. It is fun and a very good action film almost at the end of the 80's, a decade that needed at least one of those filmes, and had two of them with the release of Die Hard on year after.
propaganda reaganiana. mezza stella per lo sconforto che m'ha causato la scena in cui la figlia bacia il padre steso nella vasca e un'altra mezza stella per mel gibson che, con la camicia sbottonata, corre armato in mezzo al traffico. il combattimento finale sotto l'idrante che perde nel giardino di Roger è ingiustificabile, ma in parte giustificato dal 'get that shit out of my lawn', vero inno alla private property
Buddy movie that has the most memorable cop duo put on film. Excellent action sequences and Mel Gibson doing plain mad is highlights. It is the one who has dated the least compared to the other ones and also don't overdo itself on comedy or pyrotechnics.
Perhaps 80's action films were all self-aware? Beginning as a rather reflective police procedural, the action and logic soon jump into ludicrous speed in a manner that seems purposeful and reflexive: a comment on the American Banal, allowing regular joes an outlet to blow shtuff up. The use of sound - always commenting on the characters - seems to point this way. It's practically magical realism for working stiffs.