Showing posts with label Starring: Mel Gibson. Show all posts
Showing posts with label Starring: Mel Gibson. Show all posts

Lethal Weapon (1987)

Buddy-based L.A. police drama that’s very much an inferior version of Beverly Hills Cop. I wanted to see what all the fuss was about, but I couldn’t really. 

Mel Gibson plays a “troubled” policeman wrestling with bereavement and mental health issues. He’s teamed up with Danny Glover to investigate the death of a woman who appears to have leaped from an apartment balcony. 

It’s a little hammy, the villains (including Gary Busey) are woefully one-dimensional and it feels very “TV movie” in places. But Gibson and Glover work well together, with a certain chemistry, even though the macho aspects of the plot are ludicrous. At the end, for example, Gibson engages in a lengthy fight with the villain when he could have simply arrested him. 

To some extent, you have to buy into Gibson’s whole style – twitchy and “on the edge” – for the film to work at all. If you can’t engage with his persona, or you find him merely ridiculous, then you’re left with a fairly ordinary thriller. 

My copy is the “director’s cut” but I’ve no idea what was removed or added for this version. 

It’s worth watching if you’re curious about 1980s blockbusters, as I am, but I don’t ever need to see it again.

Ransom (1996)

Thriller in which Mel Gibson and Rene Russo star as the wealthy parents of a boy kidnapped by Gary Sinise and his gang. Rather than pay the $2 million, Gibson's character takes matters into his own hands and creates a bounty for the kidnapper. 

It’s taut if trashy, and it keeps you engaged. Russo and Sinese are watchable, as always, but Gibson is oddly overwrought. It’s partly the character – he plays a loose cannon reckless enough to take the ransom process off-piste and gamble his son’s life in the process – but it’s partly just his odd acting. 

There’s a sort of theme about macho behaviour, with the two male characters trying to dominate each other, but it’s not entirely believable. Gibson simply isn’t convincing as a dad or husband, and he has remarkably little chemistry with Russo. In fact, his character comes across as a total weirdo. (What kind of parent thinks he knows more about kidnap strategy than the FBI?) A plot thread about him having lied to his wife promised to take the film in a more interesting direction – i.e., with the criminal exploiting their divisions to play the couple off against one another – but strangely that possibility isn’t explored beyond an initial hint. Also, it fails my standard test of a film’s quality in that the minor characters are cardboard cut-outs instead of being developed and given their own motivations.  

Slow-motion action sequences are never a good sign in a thriller, and there are too many here. I also found the black-and-white treatment applied to the closing moments a little naff and unnecessary. 

Ron Howard is usually a dependable director, but you can’t help feeling that this one somehow got away from him.