In a movie with the energy of this one, we're exhilarated by the sheer freedom of movement; the violence becomes surrealistic and less important than the movie's underlying energy level.Read Full Review »
90
Washington Post: Richard Harrington
After watching Gibson and Glover grow accustomed to each other, develop trust and confidence in each other and charge bullheadedly into dangerous situations, you can't help but hope there's a "Lethal Weapon II." It would be one of the few times a sequel would make sense and dollars.Read Full Review »
90
Washington Post: Rita Kempley
Lethal Weapon opens with a shot of Mel Gibson in his birthday suit and just gets better. Likewise we meet costar Danny Glover in the bathtub, fêted by his family on his 50th birthday. This endearing double exposure introduces us to the vulnerabilities of these superduper heroes, an odd couple of cops who mature into friends as they quell crime.Read Full Review »
80
The New York Times: Janet Maslin
The film is all fast action, noisy stunts and huge, often unflattering close-ups, but it packs an undeniable wallop.Read Full Review »
70
Time: Richard Schickel
What a concept! Mad Max meets The Cosby Show. What a surprise! It works better than a fastidious mind might imagine. One reason is that Mel Gibson himself has been recruited to play Lethal Weapon's lethal weapon, Los Angeles Police Detective Martin Riggs. [23 March 1987, p.86]Read Full Review »
63
Boston Globe: Jay Carr
The skies are thick with whizzing bullets and strings being pulled by Shane Black's crude script and Richard Donner's cement-mixer direction. Predictably, the chicks-and-ammo stuff is punctuated by TV cop show repartee. [6 Mar 1987, p.36]Read Full Review »
50
LOS ANGELES TIMES: Michael Wilmington
At bottom, Lethal Weapon isn't much. It's a big, shallow, flashy, buddy-buddy cop thriller; it attacks you like a stereophonic steamroller, flattening everything behind it. Snatches of "Hustle" "Magnum Force" and "48 HRS." float above this plot like scum on a polluted lake, and the holes in logic and mindless climax are (or should be) embarrassing. [6 Mar 1987, p.4]Read Full Review »
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