Buddy Cop Movies

‘Lethal Weapon’ Movie and 4K Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

Hollywood has long been a fan of buddy cop movies, as people love to see big action, memorable villains and witty repartee between the polar opposite main characters.  “Lethal Weapon” is a film I’ve heard about ever since I started watching movies, especially the famous line, “I’m too old for this shit,” delivered perfectly by Danny Glover. Now, thanks to the 4K release of this film from Warner Brothers, I’ve finally had a chance to sit down and watch it in its entirety.  It is certainly one of the better buddy cop movies to have ever been released in Hollywood, thanks to the tremendous on-screen chemistry shared between Mel Gibson and Danny Glover.  They make it look effortless. I’m happy to report I’m not too old to sit down and watch “Lethal Weapon” for the first time. 

The film opens with a naked young woman snorting a line of cocaine and jumping off her balcony to her impending death.  This occurs on the day of Roger Murtaugh’s (Danny Glover) 50th birthday, as we see him trying to navigate through his happy yet chaotic homelife. He’s been assigned a new partner, Martin Riggs (Mel Gibson), an unhinged and wildly unpredictable cop who has unconventional methods, but you can’t argue with his success. It’s been 11 years since the death of his wife, and he struggles every day with thoughts of suicide. Indeed, it’s easy to see why Murtaugh feels like he is too old for this shit, as the two of them are as opposite as fire and ice.

Murtaugh and Riggs must put their heads together and find out the real reason why this young woman, Amanda Hunsaker (Jackie Swanson) committed suicide. Murtaugh gets a call from an old war buddy Michael (Tom Atkins), Amanda’s father, and Michael reminds Murtaugh that he saved his life when they were in battle. There are definitely some nefarious individuals behind this, and Riggs sees the complexity of these cases and isn’t afraid to dig deeper or get his hands dirty. Murtaugh, on the other hand, looks for the simplest and easiest solution to these cases. He has too much at stake because he’s married and has children at home. Riggs, on the other hand, has nothing to lose and doesn’t care if he dies, so he will do what needs to be done, consequences be damned.

“Lethal Weapon” was directed by the legendary Richard Donner (“Superman,” “The Goonies,” and “The Omen”), and was written by Shane Black (“The Nice Guys” and “The Monster Squad”). They collaborated with Gibson and Glover to create a memorable piece of cinema.  I do think the first hour of the film is absolutely perfect as it moves quickly, introduces the main characters and the villains, including a memorable performance by Gary Busey, and it’s a lot of fun.  It’s clear they are comfortable taking their time in allowing these characters to grow on screen, as we get to know them, inside and out. Because of this, the stakes matter that much more when the shit hits the fan.  The comedy is also effortless and never forced.

I did feel like the second half hit a bit of a lull when the good guys met up with the bad guys.  Of course, it was the 1980’s, so there needed to be big action (in addition to big hair and big outfits) and special effects, but they could have done probably half of what they did and it would have been even more effective.  There is also a wild karate battle between Busey and Gibson, which made me laugh but for all the wrong reasons. It seemed odd to go in that direction at the very end. The film starts out by letting the audience know it’s going to be a different type of action comedy, and I enjoyed the balance of seriousness and comedy. I was hoping the film would have kept that tone a little bit more in the second half, but it turns into a bit of a silly action movie. Still, “Lethal Weapon” has a good script, a top-notch cast, and skilled direction. It’s a good movie, but I don’t think it’s a great movie because of the issues I’ve mentioned.

It should be noted that I watched the director’s cut of “Lethal Weapon,” so I’m not sure how much of a difference there is between it and the theatrical cut, as this was my first time watching the film. The director’s cut is 117 minutes, and the theatrical cut is 110 minutes. I’d be curious to hear from those who have seen both cuts as to how much of a difference there is between them. I think the film should have been around 100 minutes, and it would have been just about perfect. I can’t speak for the sequels, but I can see why audiences wanted to see more of these two, as they had some of the best onscreen chemistry I’ve seen in a buddy cop comedy. Glover is smart, tough, and vulnerable while Gibson is crazed and determined, but there’s also a method to his madness. I loved these two characters.

* * * out of * * * *

4K Info: “Lethal Weapon” is released on a single-disc 4K from Warner Brothers Home Entertainment in either a 4K slipcover or a 4K steelbook. As mentioned in my review, the 4K comes with both the theatrical cut and the director’s cut. The film is rated R for strong violence, strong language, brief drug use, and some nudity. There is also a digital copy included.

4K Video/Audio Info: The film was nominated for an Academy Award for Best Sound, and wow, this is quite a Dolby Atmos soundtrack. The film is LOUD, and I do mean LOUD. At times, I found it to be a little too loud, which must mean I’m too old, but in all seriousness, if you enjoy your action flicks loud and in-your-face, you won’t be disappointed with the audio here. I did enjoy the 1980’s saxophone that was present throughout the movie. It’s a jaunty soundtrack that stayed in my head. As far as the video here, the HDR is splendid on this release, and it makes the film look sharp, vivid, and lively without losing its 80’s aesthetic. Hey, I was born in the 80’s, and I appreciate that decade very much, especially the music that was released then!

Special Features:

·   A Legacy of Inspiration: Remembering Richard Donner

· “I’m Too Old for This…”

Should You Buy It?

Yes! Personally speaking, I’m a big fan of a crisp 4K slipcover, and the slipcover release of Lethal Weapon is a thing of beauty. I really enjoyed the home theater experience of watching this movie, as it left me drained in the best possible way. The film presents a multitude of elements to the viewer, and while not all of them resonated with me, they were more effective than not. The film is memorable and stands out because of the performances of Mel Gibson and Danny Glover. In some ways, they look at one another and they see what they are missing in themselves. Murtaugh sees Riggs as someone who is not afraid to think outside the box, take risks, and find his man. Riggs sees Murtaugh as having the family life he wishes he could have had if his wife hadn’t died. The film is, at times, heartfelt, without trying too hard or being sugary sweet. Gary Busey is a kick-ass bad guy because he’s as cold as ice and doesn’t flinch. I wish the film was about 10-15 minutes shorter, depending on the release you watch, but it’s still a good flick. Warner Brothers also includes two new special features on this release, and they are one of the only studios that is releasing classic Hollywood films with new special features. I think physical media collectors will be VERY happy with the 4K release of “Lethal Weapon.”

**Disclaimer** I received a copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

Running Scared Celebrates Its 25th Anniversary at New Beverly Cinema

Posted on by The Ultimate Rabbit

WRITER’S NOTE: As the opening paragraph indicates, this screening took place back in 2011.

On September 28, 2011, New Beverly Cinema played host to the 25th anniversary screening of the 1986 buddy cop action comedy film “Running Scared.” It stars Billy Crystal and the late Gregory Hines as Chicago police detectives Danny Costanzo and Ray Hughes who, after almost getting killed, decide to retire in Key West, Florida. But before they can retire, they first need to bring down a vicious drug dealer (is there any other kind?) played by Jimmy Smits. Attending the screening were the film’s director, Peter Hyams, and actress Darlanne Fluegel who played Costanzo’s ex-wife, Anna.

Hyams had just finished making “2010” for MGM, and the studio wanted to keep him there. He got offered the script for “Running Scared” which he said was originally about two “elderly” cops who want to retire. However, he instead suggested that the cops be younger guys, and he made it clear how he wanted Billy Crystal and Gregory Hines for it.

At the mention of Crystal, Hyams said “you could hear the thump in the office.” Keep in mind, this was long before Crystal became the actor and Oscar host we know him as today. Back then, he was primarily known for being a cast member on “Saturday Night Live,” and he had only done one movie previously which he would rather people forget ever existed (“Rabbit Test”).

As for Hines, an unnamed studio executive told Hyams:

“But the part’s not written for a black guy.”

To this, Hyams replied:

“Hines isn’t playing a black guy, he’s playing a guy.”

One of “Running Scared’s” biggest action scenes involves Hines’ character climbing to the top of a Chicago building on a window washer’s rig. Many of Hyams’ films feature scenes shot from great heights, and he said this is because he is highly acrophobic. The director is so terrified of heights that he keeps shooting scenes from a high elevation in order to get people as scared as he is of them. It turns out the film crew was unable to get a stuntman for this sequence, so they got the actual window washer of the building to do it.

In talking about Fluegel, Hyams said he had such a crush on her after watching “To Live and Die in L.A.” and wanted her to play Crystal’s ex-wife. Her character was the “least eccentric” in “Running Scared,” Hyams noting if the character was not made interesting, the film was going to die. Fluegel said she felt very free when working with Hyams because she could see the kind of environment he had her working in. She found herself creating things for Anna as the production went on, and you could feel the relationship between her and Crystal without words. Fluegel replied much of it came from the fact that the two of them “were just buds.”

“Running Scared” did well at the box office, and MGM of course became interested in doing a sequel. The studio wanted the cops to go to England and fight crime there, but Crystal and Hines were not particularly interested in doing a follow-up. As for Hyams, he said he didn’t want to make the same movie again as he felt it would not be interesting.

Crystal, while at a screening for “City Slickers,” remarked at how “Running Scared” was “the first interracial cop buddy movie.” After 25 years, it’s important to note this as it was released before “Lethal Weapon.” It still holds up well today, and while the studio didn’t think it would work, Hyams stayed true to his instincts on how to make it. Not bad for a man who openly admitted he is “terrified of shooting movies” and never had a confident day in his life.

The Nice Guys

Posted on by The Ultimate Rabbit

The Nice Guys poster 1

After exploring the superhero genre with “Iron Man 3,” writer and director Shane Black returns to the one he mastered years ago: the buddy cop movie. Black is the same man who wrote the screenplays for “Lethal Weapon,” “The Last Boy Scout,” “The Long Kiss Goodnight” and “Kiss Kiss Bang Bang” which he also directed. Now he gives us “The Nice Guys” which takes us back to the 1970’s and teams up Russell Crowe and Ryan Gosling as men involved in a murder mystery only they can solve.

“The Nice Guys” takes us back to 1977 and even features the “Big W” Warner Brothers logo Ben Affleck used to great effect in “Argo.” We even get some nice retro credits presented to the tune of “Papa Was a Rolling Stone,” so it doesn’t take Black long to transport us back to a time where laws against smoking were nowhere as strict as they are today. Black gives us some wonderful introductions to enforcer Jackson Healy (Russell Crowe) and down-on-his-luck private eye Holland March (Ryan Gosling), men who are not at their peak of their lives and are looking for reasons to justify their existence.

Like Bruce Willis and Damon Wayans in “The Last Boy Scout,” Jackson and Holland do not get off to the best start, and this is especially the case after Jackson breaks Holland’s arm with what seems like little ease. But the both of them come to see they need each other to discover the whereabouts of Amelia Kutner (Margaret Qualley), a missing girl who may be connected to the death of porn star Misty Mountains (Murielle Telio). Actually, describing the plot of this movie is a bit complicated as it is a little hard to follow, but perhaps a second viewing will help to answer questions viewers had the first time around.

Black, along with co-writer Anthony Bagarozzi, still knows how to create potent dialogue with a kick to it, and it makes the chemistry between Gosling and Crowe all the more palpable. After all these years, Black can still deliver a number of zingers few other screenwriters could pull off with as much success. As a director, he captures the mood of the 1970’s with a lot of flair and panache, and he makes the audience feel all the kicks and punches which come at them with fierce brutality.

Gosling nails the vulnerabilities and complications of Holland with a fearlessness, and he renders certain moments like when he suddenly discovers a dead body with an originality which makes them all the more memorable. As for Crowe, he has never had much success with comedy judging from his failed turn as a romantic comedy leading man in “A Good Year.” But here he fares much better as Jackson as this role plays on his strengths as a tough guy while at the same time playing around with this image of his. When he stares down a suspect he’s about to give a serious beating to, it makes you wonder why he even bothers wearing brass knuckles. His demeanor should be more than enough to intimidate anybody foolish enough to cross his path.

I also have to single out Angourie Rice’s performance as Holland’s daughter, Holly, as she more than holds her own opposite Gosling and Crowe. She also reminds us of how the younger generation is quick to call out their parents on the baloney they feed them on a regular basis. Rice makes Holy into a young girl wise beyond her years as a result of watching her dad fumble about much too often in life. She also reminds us of how we eventually become too benumbed by the unfairness of life as she holds a high moral standard that we have long since given up on out of hopelessness, and it makes for some powerful scenes in which she reminds the adults of why they are flat out wrong on certain issues.

“The Nice Guys” provides audiences with the opportunity to seek out a movie not populated with superheroes, and it is unafraid to brush political correctness aside without a second look. It’s giddy fun as it doesn’t conform to the cinematic norm which is overly influenced by corporations and needless test screenings. This one is its own beast, and taming it does it no justice. Either enjoy for what it is or see something else.

Copyright Ben Kenber 2016.

* * * ½ out of * * * *