a5c7b9f00b Los Angeles police sergeant Roger Murtaugh and his partner, Sergeant Martin Riggs, arrest Billy Phelps for trying to rob an armored truck, this being just 8 days until Murtaugh is scheduled to retire. In the interrogation room, Billy is murdered by Lieutenant Jack Edward Travis, a vicious former cop who now sells guns that are stolen from evidence storage facilities. The investigation of Travis teams Riggs and Murtaugh up with Sergeant Lorna Cole of the Internal Affairs Division. Leo Getz, who is now a legitimate real estate agent, gets involved when he sees Travis's face on a paused videotape then says he recognizes Travis. Riggs finds himself falling in love with Lorna. Later, in a shootout against a street gang, Murtaugh kills a gangster who turns out to be Darrell Smithers, the best friend of Murtaugh's son Nick. A guilt ridden Murtaugh later tries to drink himself to death, but Riggs helps him realize that they must go after Travis, the man that Darrell's gun came from.
Martin Riggs finally meets his match in the form of Lorna Cole, a beautiful but tough policewoman. Together with Roger Murtaugh, his partner, the three attempt to expose a crooked former policeman and his huge arms racket. The crooked cop (Jack Travis) thwarts them at every turn, mainly by killing anyone who is about to talk, but Murtaugh has personal problems of his ownhis family are brought into the equation.
While things do have ways of becoming complicated, all by themselves; there's still just enough thought, quite systematically though collusively embodying them, to where the prospect of things becoming uncomplicated, all by themselves, would never be permitted, by any statistically viable measure of effort; save to the extent of such being the only possible solution, or at least the only one potentially required, in its capacity to insure that every vital truth is justfatally shot in the back! . . . That is, to the virtually categorical exclusion of justindividually and intelligently-systematic-an-attempt to successfullywelldeliberately and even quite forcefully untangle all this sinisterly-underhanded intrigue; with nothing, one could only wish, but the most effective of ex-cop killers, at least in terms of the kind of armor which really needs be officially pierced; while targeting about the only real threat to, just for openers, Second Amendment Rights, in particular, which the NRA would be the very last to confront. . . . Riggs was an extremely slick act, even to those without the eyes to see completely through the loop of such a vitally indispensable parable. Yet, perhaps only because I'm still a lover of Mad Magazine,wellthe only kind of required reading in which I could never really believe; I wish he'd grow back that beautiful mane, despite even the extent to which we'd both love to be able to bypass the Mayhem and Chaos of the past fifty years alone, not to mention various other things which dare no less unjustifiably clash with the most uniformly rank-and-file blues. . . . I do hope it's not merely a false assumption that he is more than the most typically modern kind of Thespian, contrary to the abject probability of an alter-ego whose Greek even most Classically sneaks up from behind; soto project the mere appearance of a Pathos bordering on the very Razor's Edge of self-absorption, within a Continuum of Being involving nothing but—Involvement—and its redeemingly-transfiguring embodiment of even the most otherwise "merely professional" forms of detachmentwell. . . . As a Christian, of course, I'd have no official authorization to follow the lead of the NRA, assuming it is even consciously let-alone explicitly aware of the implication that its guns would be of any use against the very Institutionalization which so systematically threatens, should I rather say, last, and even least of all, the Second Amendment; even given that the only other conceivable alternative, a reinstatement of even the Second Amendment, on the basis of Due Process, is the most hopelessly futilewellsanely-reliable alternative. . . . As an American, though, minus any scripturally-prohibitive restraints (which, again, is certainly not the case), I'd be duty-bound, by our very Constitutional Philosophy, to act in the only way left, according to It, upon how systematically I've been denied Official Redress of so many of my more seriously intolerable grievances. But, then, thank God I'm not an American first, particularly given her own logically non-sequitur inversion, when carefully examined, of the real meaning of Separation of Church and State. The "trial" of Marcellus Gallio (Richard Burton), with Caligula (Jay Robinson) presiding, at the end of The Robe, is more than adequate to help make my meaning here clear; at least for anyone, if anyone, with even the brains, let-alone the will, to distill it! . . . That is, coupled with the kind of Class Warfare, between those relative few for whom society exists, and those many by means of whom it exists, which reduces the NRA to the most tactically-misleading kind of Ornament, along with Emmanuel Goldstein and the so-called "liberally" American institutions, at the other end of this collusively well-coordinated panorama of "equally represented" images. Ordinarily, it would be a real dilemma, particularly for a real Christian, over-against the typically professing ones, who compel me to much more meticulously define what I mean, lest I be confused with them, almostmuch to their consternationto that of my own! . . . That is, to decide which constitutes the real law of the land; either the de facto law, the kind only brute force could ever challenge the equally brutal enforcement of, if necessary; or, the very Constitutionally abstract codes, over-against the many layers of which this de facto law at least theoretically should be measured; assuming it is possible to overcome the most endlessly rhetorical debates, in favor of anything more than justarbitrarily-rhetorical-a-consensusto the difference, in any particular kind of case. . . . But then, again, it's only in a purely hypothetical sense, at least for purposes of action rather than definition, that such an issue concerns me at all, evenan American;one, that is, who is duty-bound not to react, in any violently opposing way, to any facet of the de facto law; regardless of how illegal, by any real Constitutional definition, it may happen to be, or may not merely happen to be;opposed to how even the Riggs in me would sometimes just-as-soon opt to handle the problem, that is, on any normal day! . . . Part II, in Lethal Weapon IV
"Lethal Weapon 3" continues the saga of the buddy-cops (Mel Gibson and Danny Glover) and their adventures in fighting crime. The film is justgoodthe first two and the screenplay keeps the series interesting. This time they are going after a former cop who is selling confiscated weapons to Los Angeles street gangs. Joe Pesci and Rene Russo add great supporting turns. 3.5 out of 5 stars.
Lethal Weapon 3 is pretty much the same"Lethal Weapon 2," which was pretty much the same"Lethal Weapon."
Los Angeles police detective Martin Riggs (<a href="/name/nm0000154/">Mel Gibson</a>) and his partner Roger Murtaugh (<a href="/name/nm0000418/">Danny Glover</a>), who is set to retire in one week, come up against Internal Affairs (I.A.) investigator Lorna Cole (<a href="/name/nm0000623/">Rene Russo</a>) when I.A. decides to take over the interrogation of a man Riggs and Murtaugh arrested for attempting to steal an armored car. Forced by Captain Ed Murphy (<a href="/name/nm0434676/">Steve Kahan</a>) to work together, the three detectives compare notes and learn that the I.A. investigation actually centers around rogue cop Jack Travis (<a href="/name/nm0934179/">Stuart Wilson</a>) who is suspected of stealing impounded weapons and selling them on the black market. Leo Getz (<a href="/name/nm0000582/">Joe Pesci</a>), now a real estate agent, also joins in when he tells Riggs that he recognizes Travis. Lethal Weapon 3 is the third movie in the Lethal Weapon series, preceded by <a href="/title/tt0093409/">Lethal Weapon (1987)</a> (1987) and <a href="/title/tt0097733/">Lethal Weapon 2 (1989)</a> (1989) and followed by <a href="/title/tt0122151/">Lethal Weapon 4 (1998)</a> (1998). It is based on a story and screenplay by American screenwriters Jeffrey Boam and Robert Mark Kamen based on characters created by Shane Black in the first movie. Leo was in protective custody in Lethal Weapon 2 because he was going to testify against the South Africans. Seeinghow Riggs and Murtaugh killed all of them, there was no need for Leo to testify or go into witness protection. In the fight at Rancho Royale, Lorna is shot by Travis, who then goes after Riggs. As Riggs and Travis chase each other through the burning construction, Murtaugh finds an ammo box containing "cop killer" bullets, which he loads in a gun and tosses to Riggs, currently pinned down by Travis' front-end loader. Riggs fires the bullets through the bucket of the loader, killing Travis. He then runs back to tend to Lorna. Although she was badly injured, it is revealed that she was wearing two bullet-proof vests, which prevented a fatal injury. As the helicopter prepares to fly them to a hospital, Riggs leans over and whispers, "I love you," into Lorna's ear. Later,Murtaugh relaxes in the bathtub, his family enters the bathroom singing, "Happy Retirement Day" and carrying a cake with candles for every year that he was on the force. When told to blow out the candles, however, Murtaugh tells them that he's decided NOT to retire after all. Suddenly, Leo Getz bursts in to announce that he's finally sold Murtaugh's "termite-infected turkey" and needs Murtaugh's signature on the contract. When Murtaugh tells him that the house is not for sale and that he plans to live in it for another 10 years, Leo becomes irate and has to be shown out by Murtaugh's wife Trish (<a href="/name/nm0522306/">Darlene Love</a>). In the final scene, Murtaugh sees daughter Rianne (<a href="/name/nm0938159/">Traci Wolfe</a>) kissing Riggs goodbyeshe heads off to work. As they get into their own car, Riggs and Murtaugh begin bickering about Riggs' intentions with regrds to Rianne, Riggs taking up smoking again, who's going to drive, etc., until Riggs announces that he's going to pick up Lorna from the hospital that afternoon and that things are getting serious between them. They have a dog and everything. Three dialogue/plot scenes were extended for the Director's Cut adding up nearly three minutes to the runtime.
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