Lethal Weapon/ Lethal Weapon 4 — Double Feature

Theme: A night of ‘Lethal Weapon’

Lethal Weapon (1987) Credit: Warner Bros.

Welcome back to **Double Feature**, where I pair two thematically linked (don’t think about it too much) titles for a movie lover’s Saturday night in.

Please check out my previous piece on the conspiracy thrillers Captain America: The Winter Soldier and Three Days of the Condor, here.

Buddy cop films, whether both characters are cops (*Bad Boys, Rush Hour, [Hot Fuzz](https://medium.com/fan-fare/edgar-wrights-cornetto-trilogy-retrospective-and-ranking-be4ae026b52b)), or only one is a cop (48 Hrs., The Hard Way), or neither is a cop (The Last Boy Scout, The Nice Guys*), are so much fun.

The ultimate buddy cop film, scripted by the ultimate buddy cop film writer, Shane Black, is 1987’s Lethal Weapon. It ignited the era of hyper violent everyman-led actioners, at a time when bigger biceps meant bigger box office.

Though 1998’s Lethal Weapon 4 seemed to conclude the series, interest in following up the exploits of crazy man Riggs and retiree-to-be Murtaugh, has never waned. FX’s It’s Always Sunny in Philadelphia saw the gang making fan-fiction sequels, and Fox had the well-received (though unseen by me) TV series Lethal Weapon, which aired 2016–2019. Most notably, for years a for-real sequel has been in the works, or at least, in the talks.

Mel Gibson and Danny Glover have kept up their off-the-air friendship, and Richard Donner, who helmed the film series from start to finish (a rarity for any film series numbering more than three) was developing a script, reportedly, for years. Sadly, Donner passed away in 2021, and many, including myself declared right then and there, “Well, there’s no new Lethal Weapon without Donner.”

Recently, at the 2024 FanX Salt Lake Comic & Pop Culture Convention, Gibson spoke of a completed script for *Lethal Weapon 5*, but claimed production had been held up. Gibson would direct. According to him, Donner, before his passing, said “Kid, if I drop off the perch, you’ll direct this.”

With Gibson being an accomplished director in his own right, having directed, among others, The Passion of the Christ, Apocalypto, and of course, Best Picture winner Braveheart, I suppose this is a no-brainer. Gibson has also remained a fairly convincing action lead, with *Dragged Across Concrete and Blood Father.*

I will be there opening day should this happen, and frankly, just as happy (if not happier) if it doesn’t.

Lethal Weapon is among the few major ‘80s film properties to thus far dodge the legacy sequel treatment. And while those have had success (Top Gun: Maverick), for the most part, the result just dilutes the magic (Ghostbusters: Afterlife, *Beverly Hills Cop: Axel F, A Good Day to Die Hard, Indiana Jones and Dial of Destiny, and so on). As much as I would love a great new Lethal Weapon* (reportedly Donner worked to make the story personal, and Gibson considers its script, the best of the bunch), sadly, I’m certain the new film would fall into the latter category.

Either way, let’s look at where the series began, and where we left off — Lethal Weapon, and Lethal Weapon 4.

Lethal Weapon (1987, Dir. Richard Donner)

Lethal Weapon (1987) Credit: Warner Bros.

“If these two can just stand each other… the bad guys won’t stand a chance!” — Lethal Weapon’s awesome trailer.

Richard Donner, who had a reputation for being workman-like in his directing approach, early on quietly made a string of classics, with the creepy and shockingly over-the-top supernatural horror film The Omen (1976), the greatest superhero film ever, Superman (1978), and the Amblin favorite The Goonies (1985).

And then in 1987, he ushered in a new era in action blockbuster filmmaking. Usually, this is credited to *Die Hard, but a number of Die Hard’s masterstrokes, such as the downtrodden everyman lead, the Los Angeles at Christmas setting, the loud and bloody gunfire, a score by Michael Kamen, even the casting of Al Leong, Mary Ellen Trainor, and Grand L. Bush, were all done in Lethal Weapon* first.

Mel Gibson, having completed his Mad Max run a couple years prior, but still teasing his hair, is Det. Martin Riggs, a cigarette chewing, trailer-dwelling, dog-loving suicidal cop, missing his departed wife hard, around the holidays.

Danny Glover, having played two hateful baddies two years prior in The Color Purple and Witness, is Det. Roger Murtaugh, a family man, who looks younger with a beard, and celebrates fifty years of life with a bath before work, no lock on the door. Oh, and he’s “too old for this sh*t.”

The film opens, however, with a young scantily-clad lady, leaping from an LA penthouse suite onto the roof of a car. It’s a stellar opening, and moody, following the opening credits (almost Superman-style) to the tune of “Jingle Bell Rock” by Bobby Helms.

The first three Lethal Weapon films have widely available ‘Director’s Cuts’, and depending on which version you’re watching, the first beat we see of Riggs in action, is him busting drug dealers in a tree lot (theatrical) or him walking into the line of fire of a school shooting and taking out the sniper (director’s). Having both is redundant, as the tree lot scene makes it clear, Riggs doesn’t care about surviving. That sniper bit is really effective, however, and arguably makes the point even clearer.

Overall, I recommend the theatrical version for all the films, especially Lethal Weapon 2, my favorite of the bunch, and whose added scenes only subtract.

Riggs is reassigned to Murtaugh’s precinct, because everyone who knows him believes he’s either gone crazy or trying to make bank and retire early, on what they call the “psycho pension.” Murtaugh is Riggs’ new partner.

Both men size each other up, neither wanting to be there. Love this exchange:

Murtaugh: “God hates me, is what it is.”

Riggs: “Hate Him back. It works for me.”

As our heroes investigate the death of the penthouse woman — it turns out, this was the daughter of Murtaugh’s old friend — the tides change, as Riggs shoots and kills a perp right as he’s about to put a bullet in Murtaugh. The suspect dies on the scene, but Murtaugh makes it clear to Riggs he’s grateful.

Riggs: “I bet that hurt to say.”

Even more heartwarming, Murtaugh, having barely survived a day on the job, makes it home in time for dinner with his family, for once, and brings along his new friend.

Lethal Weapon (1987) Credit: Warner Bros.

It’s all understated, and this is my favorite scene in the whole series.

The Murtaugh family is immediately loveable, the table scene is chaotic, with everyone talking over each other, almost early Spielberg-like, and we get amusing tidbits like Trish (Darlene Love), Murtaugh’s wife, not being a strong cook, and Murtaugh’s oldest, Rianne (Traci Wolfe), being obviously attracted to Riggs.

Riggs and Murtaugh have a heart-to-heart by themselves in the front yard, and as they part ways, it’s clear these two are going to be bonded for life.

Murtaugh: “You really liked my wife’s cooking?”

Riggs: “No. See you tomorrow.”

In the director’s cut, the scene that follows is of Riggs hiring a prostitute to come to his house and watch television with him. “Three Stooges is on.”

I’m mixed on this. It’s already clear Riggs is shaken and triggered, seeing the family he could have had, in Murtaugh’s family, but I like the idea of him ensuring he’s not alone that night.

It must be heartbreaking for Riggs to be at that table with all those smiling faces and Murtaugh’s vibrant, loving wife, but a seed has been planted — for once, Riggs doesn’t want to “eat a bullet” as he puts it. He doesn’t need to feel sorry for himself. This family might have just taken him in. Murtaugh, through trust, and welcoming arms, has shown Riggs a sliver of a reason to live.

OK, so there’s this whole mystery happening, but it’s an underthought, and that’s the biggest reason this is only my second favorite Lethal Weapon, despite having my two favorite scenes in the series. The film’s appeal has little to do with the mystery, or even the action, and everything to do with the characters.

In any case, as Riggs and Murtaugh close in, the bad guys turn up the heat, leading to an epic showdown on Hollywood Boulevard, and maybe my favorite action finale ever, on Murtaugh’s own front lawn!

The scene sees Riggs duke it out with the film’s secondary heavy, Mr. Joshua (Gary Busey). Joshua, like Riggs was in the special forces, which means he has similar training in jujitsu, capoeira and the like, and is thus, similarly lethal.

“Lethal Weapon,” as the series goes on, refers to the two-hander of Riggs and Murtaugh, at least that’s how I make sense of it. But in this film, it’s obvious it refers to Riggs. Murtaugh says, having read Riggs’ file, regarding all his martial arts training, “I guess we ought to register you as a lethal weapon.”

But the film suggests that what makes Riggs lethal is that he doesn’t care about his life — he’s fearless and unpredictable, thus a next-level threat to everyone, including himself.

So, in the finale, when Riggs faces his supposed equal, Joshua, and his death wish is fading, and he’s no longer this unstoppable tornado, maybe now he won’t be able to win. But the twist is, now that he has something to live for, and a family to protect, defend, avenge, he becomes a super-lethal weapon!

Two more things about this lawn fight. Most action films conclude with a big bloody, explosive battle that’s essentially just there because audiences expect a big climax. With Lethal Weapon, screenwriter Shane Black takes that a whole staircase further. Here, the villain is already disarmed and in custody, so the fight is blatantly superfluous, that is, in the narrative sense.

Figuratively, it represents the final stage in Riggs’ arc. He’s already found something real to give his life to, and his fight with Joshua, is meant to be a spiritual killing, or banishing of his suicidal state, and of this dark force that feeds on him, especially around the holidays — the soul-suffocating grief over the loss of his wife.

Lethal Weapon (1987) Credit: Warner Bros.

Second, I love the way Donner employs handheld shots for this fight. Not only is it effective, and down and dirty as we get close in on the action, around the bloody fists and mud-soaked hair, we also see the fight from the perspectives of the officers arriving at the scene, lending a visceral, documentary-like feel to the fight.

I’ll close by shouting out one of Lethal Weapon’s secret weapons — it’s unforgettable musical score. Michael Kamen provides an exceptional action score, much of which always has me bobbing my head and rocking back and forth in my seat. He collaborates with guitarist Eric Clapton whose second-to-none strings give Riggs’ melancholy crazy man theme a beating, pounding heart; and the late David Sandborn, whose belting saxophone genius calls back to Murtaugh’s bygone jazzy youth.

This idea of giving both leads, who meet, having taken different paths, such distinct musical identities, is simple, yet so unique and brilliant.

Lethal Weapon 4 (1998, Dir. Richard Donner)

Lethal Weapon 4 (1998) Credit: Warner Bros.

This will be something of a jarring switch for myriad reasons. Obviously, we’re skipping two films, and thus a good chunk of the Riggs/ Murtaugh saga, but the greatest shift, aside from (gasp) no Gibson mullet this time, is the change in tone.

Lethal Weapon, though not without its light moments, is a hard-edged actioner, with deeply upsetting themes and moments. With Lethal Weapon 2, the series moved further into the light, which worked in that film’s favor as it was appropriately something of a honeymoon stage for Riggs, only for ice-cold water to be thrown hard in his face, in the second act. Lethal Weapon 3 leaned harder into comedy, despite a distressing subplot, and Lethal Weapon 4 is the broadest of all, even adding Chris Rock to the mix.

For many, this is the worst of the Lethal Weapon films, and more often than not, it’s the overreliance on comedy that gets spotlighted, and forced to stand before a firing squad. For me, the comedy doesn’t bother. It comes believably from the characters, is occasionally charming and funny, and best of all, it doesn’t undermine the seriousness of the story or the villains, like many films today.

It’s action comedy done right, but not perfectly.

Some of the comedy beats go on too long, and there’s some plot conveniences here and there, but mostly, thanks to Donner’s deft direction, the film, like all Lethal Weapons, is above average, at least. When it comes to action, I’ve found nowadays films I would’ve awarded a six when they were released, now feel like nines.

The film opens with Riggs and Murtaugh up against an armored pyromaniac with a cassette player and a flame thrower, but what really matters is that both leads break secrets to each other in an attempt to save their lives — Riggs is going to be a father, and Murtaugh’s going to be a grandfather.

Yes, this film does the dumb sitcom thing of having the characters needlessly keeping personal life secrets from each other, but I’d argue, the fourth Lethal Weapon film does this better than most. At this point, this is a series that lives and dies based on the chemistry and charisma of its leads, which, thankfully, are flames that never dim, even here.

Riggs is starting to get old, something emphasized by the challenge of Jet Li’s lightning fast villain Wah Sing Ku. Li’s so great in this.

Lethal Weapon 4 (1998) Credit: Warner Bros.

Once again, the plot, involving Hong Kong gangsters (see also 1998’s Rush Hour and U.S. Marshals), human trafficking, and counterfeit money, is fine, but not as compelling as the interpersonal goings-on between our favorite cop duo. I like(d?) that the series concluded with the gap closing between Riggs and Murtaugh, with them both now being “too old for this sh*t.”

Riggs is losing friendly matches between less experienced youths (he previously took a slug to the lung, so he should cut himself some slack). But what he’s really getting too old for, is the single life.

Now, even with a baby on the way, Riggs brushes off hints from his girlfriend and fellow officer, Lorna Cole (Rene Russo), who debuted in Lethal Weapon 3, and is easily the best part, to get married. Riggs is held back by the devastating loss of his first wife, Victoria Lynn.

Lethal Weapon 4 (1998) Credit: Warner Bros.

Watching Three Stooges at two in the afternoon in your trailer home by the beach may be cute in your twenties, maybe even early thirties, but by your forties, another look would probably suit you better.

The series has always been about building a family, and comes full circle beautifully, albeit, with Leo Getz’s awkward “Froggie” story). This fourth and possibly final entry never fails to entertain, or leave me with a smile on my face. Every Lethal Weapon concludes with me wanting more.

I can’t wrap up without mentioning, the action is absolutely top-notch. Though it lacks the boisterous grit of the first two entries, it makes up for it with wild ambition, and some heart-stopper moments. The fight in the house, which uses Lorna Cole brilliantly, is tense and exciting, the freeway chase is over-the-top but full of invention (I love the bit where Riggs punches out the driver side window of a thug’s car, going at top speeds, and pulls him out, to question him), and the final fight between Riggs, Murtaugh and Li’s Wah Sing Ku is one of the series’ best set-pieces. It’s obviously aiming to recall the fight at the end of the first film, and doesn’t match its intensity, but is a bloody, brutal great time nevertheless.

And the duo’s final “On three” is quite sweet.

There you go, two awesome action films, for a loud, wet, and explosive Saturday night in!

No Triple Feature this week, do yourself a favor and marathon the whole set. There’s only four, and they’re all at least good.

Thanks for reading!

What do you think of the Lethal Weapon films? Which is your favorite? Thoughts on the (maybe) upcoming sequel? Let me know in the comments!

I’ll be back soon with an all-new Double Feature! Happy weekend!

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