Don Movie Reviews

As a big-screen comedian, Don Knotts was never funnier, more endearing, or more inspired than in this silly, oddly charming small-town comedy. It's one of those pleasant memories from childhood, and I'm delighted to discover how well it holds up. Knotts' character, Luther Hegg, is little more than an extension of, or variation on, Barney Fife; he's what Barney might become if Andy wasn't around to calm him with a wink to the audience. And Knotts gives into the foolishness with enormous conviction: the goggle-eyed, wild-haired terror; the slightly self-important preening of a little man who just KNOWS he could be a big deal with the right break; the false bravado that quickly succumbs to cowardice of the first rank (a schtick Bob Hope would have been proud to own); and, curiously, the essential heartbreak and loneliness Knotts is too good an actor to sentimentalize or imbue with undue self-pity.

Aside from the star's peerless, bug-eyed takes, what makes this unpretentious trifle of a movie so pleasurable are its relative intelligence and its canny observation of character. They've been making inexpensive showcase comedies for rising comedians for aeons now, and most of them are dumb to the point of inanity (today they're both stupid AND gross.) But the screenwriters and the director of this movie have a fondness for even the smallest of characters, and there are wonderful touches, like the way the old man in the boarding house casually takes an egg off the cozy of the bickering old woman next to him at the breakfast table, cracks it open, and eats it. No one notices, and the filmmakers don't beat us over the head with it; it's there, on the periphery, if we want to enjoy it. Can you imagine the people behind David Spade movies having the grace to do that?

Every role, however small, is written and performed as completely individual. The voices are unique, just right for the performers and for the town itself. The verbal one-upsmanship of the elderly women in the boarding house is a perfect example; you get the feeling they've been at it for years now. Add in Vic Mizzy's memorable, idiosyncratic hipster-like score with its variations on two simple rhythmic themes, a beautiful digital transfer, and Technirama 2:35:1 widescreen, and - voila! - 90 minutes of simple joy, done to a T.

In 1966, Alan Rafkin directed one of the best Don Knott's comedies entitled "The Ghost and Mr. Chicken". Set in a fictional town in Kansas, Don Knotts plays the nervous and shy Luther Heggs, who works as a typesetter for the town's local newspaper. More than anything, Luther wants to become a full-fledged newspaper reporter, but his manager, George Beckett (Dick Sargent, who played the second Darrin Stevens in the 1964-1972 TV series "Bewitched"), won't promote him. Located in the town is the abandoned Simmon's house where several murders occurred 20 years earlier. The local townsfolk believe the house is haunted because eerie organ music can be heard coming from it every midnight. (The music was composed by Vic Mizzy, who composed music for many films, as well as TV series such as "The Addams Family", "Green Acres" and "Quincy" to name a few.)

Luther is challenged to spend one night in the abandoned Simmon's house. With knees a-knocking and teeth a-chattering, Luther enters the Simmon's house with sleeping bag in hand. What ensues is some of the best Don Knotts acting and comedy ever seen as Luther is scared and runs from the house. He is quickly hailed as a town hero, especially by several older ladies, many of which live in the same boarding house as Luther: Mrs. Halcyon Maxwell (Reta Shaw, who played Mrs. Brill in the 1964 classic "Mary Poppins", as well as the occasional Aunt Hagatha in "Bewitched"), Mrs. Natalie Miller (Lurene Tuttle, who played Eliza Chambers in the 1960 classic "Psycho"), Mrs. Hutchinson (Jesslyn Fax), and Mrs. Cobb (Nydia Westman). Other notable characters in the film include Luther's girlfriend Alma Parker (Joan Staley), Kelsey (Liam Redmond), Ollie Weaver (Skip Homeier) and Nicholas Simmons (Philip Ober).

"The Ghost and Mr. Chicken" is a classic comedy that is not dated and continues to entertain young and old alike. I rate the film with 5 out of 5 stars and highly recommend purchase of the film on widescreen DVD!

This is one of my all time favorite films and very entertaining. The other reviews here cover that well. The new dvd version was one that I had been waiting for and it's great that it is presented in widescreen format. However, the did not improve the audio into Dolby. It is a mono track which is unfortunate. They should have improved the sound. The only true extra is the original trailer. I give the film 5 stars, but the dvd sountrack is only a 1 star. Nevertheless, I'm glad it is at least out on dvd.

This is simply one of the greatest films ever made. Gregory Peck gives perhaps his best performance as General Savage and Dean Jagger is superb. It is a primer on how men are lead under harsh and stressful conditions and is used by several branches of the U.S. Military services in their leadership classes. It describes in detail the depths and glories of the human soul and demonstrates the limits of courage and sacrifice. The cinematography (black and white) is well suited for the gritty and sometimes tragic themes displayed in this film.

I am unable to recall another film whose opening and closing scenes are more effective than those in this brilliant portrayal of the 918th Bombardment group based in England which flew almost daily missions to Germany during World War II. The character of General Frank Savage (Gregory Peck) is reputedly based on Brigadier General Frank A. Armstrong, Jr. Sy Bartlett wrote the book and then the screenplay. Brilliantly directed by Henry King, we are introduced to a combination of combat fatigue and self-pity which results in the replacement of Colonel Keith Davenport by his friend Savage who is told by his commanding officer, General Pritchard (Millard Mitchell), to shape up the 918th while avoiding Davenport's problem: Becoming overly involved emotionally in decisions to send B-17 crews on exceptionally dangerous missions, day after day after day. Savage immediately establishes his authority and almost immediately loses whatever goodwill he may have had. He applies and then maintains constant pressure on the crews to improve their performance in all areas of flight operations. Underachievers are reassigned to one B-17 renamed "The Leper Colony." Morale deteriorates to such a point that those at headquarters become concerned. A formal investigation of the situation is conducted. This is a critical moment for Savage. If he has "lost" his men, he cannot continue. In fact, he expects to be relieved and begins to pack his personal items. However, for reasons revealed in the film, Savage remains in command. And then....

It would be a disservice to those who have not as yet seen this film to say any more about the plot. Suffice to say that brilliant direction, great acting by everyone involved (notably by Dean Jagger who received an Academy Award for best actor in a supporting role), superb cinematography (Leon Shamroy), and haunting music (Alfred Newman) are seamlessly integrated in this analysis of effective leadership (especially decision-making) under wartime conditions. The film begins when Harry Stovall (Jagger) makes an especially significant purchase in an antique store and then proceeds to what has by then become an abandoned air base. As we begin to hear the bombers' propellers whine as the engines roar to life, we are transported back in time. Later, as the film ends, civilian Stovall climbs back on his rented bike and departs what is again an abandoned air base. Stunning images throughout both sequences.

Peck included this among his favorite films, while adding that he was especially proud of his performance as Frank Savage. When first released more than 50 years ago, it did not receive the recognition (much less the appreciation) it so obviously deserves. Whenever CEOs and other senior-level executives ask me to suggest war films which offer important lessons about leadership and management, Twelve O'Clock High is first on the list, joined by (in alphabetical order) Command Decision, The Dirty Dozen, The Enemy Below, Fort Apache, The Hunt for Red October, Paths of Glory, Pork Chop Hill, The Red Badge of Courage, They Were Expendable, and Zulu.

Very simply, this is the best movie about leadership that's ever been produced. It's really something to watch General Savage (Gregory Peck) transform himself into a fear-force-and-terror type of leader because that's what the organization he's taking over needs. As the organization improves and he gets to know the men more, you can see him trying to maintain this style and keep what it's costing him hidden. In the end, he not only succeeds in fixing the initial problem, he also instills leadership into his subordinates to such an extent that they naturally take command when needed. The cost to him was great. But, it's a job that needed to be done.

This is simply one of the greatest films ever made. Gregory Peck gives perhaps his best performance as General Savage and Dean Jagger is superb. It is a primer on how men are lead under harsh and stressful conditions and is used by several branches of the U.S. Military services in their leadership classes. It describes in detail the depths and glories of the human soul and demonstrates the limits of courage and sacrifice. The cinematography (black and white) is well suited for the gritty and sometimes tragic themes displayed in this film.

I am unable to recall another film whose opening and closing scenes are more effective than those in this brilliant portrayal of the 918th Bombardment group based in England which flew almost daily missions to Germany during World War II. The character of General Frank Savage (Gregory Peck) is reputedly based on Brigadier General Frank A. Armstrong, Jr. Sy Bartlett wrote the book and then the screenplay. Brilliantly directed by Henry King, we are introduced to a combination of combat fatigue and self-pity which results in the replacement of Colonel Keith Davenport by his friend Savage who is told by his commanding officer, General Pritchard (Millard Mitchell), to shape up the 918th while avoiding Davenport's problem: Becoming overly involved emotionally in decisions to send B-17 crews on exceptionally dangerous missions, day after day after day. Savage immediately establishes his authority and almost immediately loses whatever goodwill he may have had. He applies and then maintains constant pressure on the crews to improve their performance in all areas of flight operations. Underachievers are reassigned to one B-17 renamed "The Leper Colony." Morale deteriorates to such a point that those at headquarters become concerned. A formal investigation of the situation is conducted. This is a critical moment for Savage. If he has "lost" his men, he cannot continue. In fact, he expects to be relieved and begins to pack his personal items. However, for reasons revealed in the film, Savage remains in command. And then....

It would be a disservice to those who have not as yet seen this film to say any more about the plot. Suffice to say that brilliant direction, great acting by everyone involved (notably by Dean Jagger who received an Academy Award for best actor in a supporting role), superb cinematography (Leon Shamroy), and haunting music (Alfred Newman) are seamlessly integrated in this analysis of effective leadership (especially decision-making) under wartime conditions. The film begins when Harry Stovall (Jagger) makes an especially significant purchase in an antique store and then proceeds to what has by then become an abandoned air base. As we begin to hear the bombers' propellers whine as the engines roar to life, we are transported back in time. Later, as the film ends, civilian Stovall climbs back on his rented bike and departs what is again an abandoned air base. Stunning images throughout both sequences.

Peck included this among his favorite films, while adding that he was especially proud of his performance as Frank Savage. When first released more than 50 years ago, it did not receive the recognition (much less the appreciation) it so obviously deserves. Whenever CEOs and other senior-level executives ask me to suggest war films which offer important lessons about leadership and management, Twelve O'Clock High is first on the list, joined by (in alphabetical order) Command Decision, The Dirty Dozen, The Enemy Below, Fort Apache, The Hunt for Red October, Paths of Glory, Pork Chop Hill, The Red Badge of Courage, They Were Expendable, and Zulu.

Very simply, this is the best movie about leadership that's ever been produced. It's really something to watch General Savage (Gregory Peck) transform himself into a fear-force-and-terror type of leader because that's what the organization he's taking over needs. As the organization improves and he gets to know the men more, you can see him trying to maintain this style and keep what it's costing him hidden. In the end, he not only succeeds in fixing the initial problem, he also instills leadership into his subordinates to such an extent that they naturally take command when needed. The cost to him was great. But, it's a job that needed to be done.

The main character is the only guy in town who seems to know what's going on here. Did nobody else in the town realize what was going on and report it to the authorities??

By any conceivable standard, the original INVASION OF THE BODY SNATCHERS is one of the greatest Sci-fi films ever made. There was also an excellent sequel in 1978 starring Donald Sutherland, but it lacked the wider political situation that gave the original so much power. That the original is such a great film is a bit surprising. It was, on the face of it, merely another fifties Sci-fi film, with a cast of relatively unknown performers (except for Dana Wynter). The plot was excruciatingly simple: the residents of a small California town are being systematically replaced by clones produced by large pods that are being brought there in vast numbers. As various people that the central characters know get replaced by clones, the paranoia builds to a degree unmatched in any other film.

There has been an ongoing debate as to whether the film is best read as an attack on McCarthyism or a commentary on communist infiltration, or perhaps merely as an attack on conformity in general. In the end, I don't think it matters. What is important is the intensity of the paranoia that the situation engenders. Between the suspicion of one's peers and the incredible tension created by the need of the characters to not fall asleep (the pods take over the moment one falls asleep, if only for a brief second), this is one of the most emotionally stressful films ever made. The moment when, near the end of the film, Kevin McCarthy looks into the face of Dana Wynter and realizes that she has drifted off to sleep for a brief second is one of the most horrible moments I know in Sci-fi.

The film is just so incredibly well done that it is hard to find too many things to praise. The threat of alien invasion is greatly intensified by its taking place in a quiet, peaceful small town. The inhabitants all look so remarkably pleasant, and yet their goal is to rob each individual of his or her soul. The cinematography is extraordinary. If one watches the film on DVD and freezes the screen randomly, one thing that becomes obvious is how magnificently nearly every shot is framed. Everything-the acting, the script, the cinematography-blends together to make this not merely what is arguably the finest fifties Sci-fi film, but one of the greatest psychological thrillers ever made.

A classic sci-fi thriller made on a small budget with a relatively unknown cast and no special effects. A small American town is invaded by strange pods from outer space and the residents are replaced by soulless duplicates of themselves which hatch from the pods. Kevin McCarthy in one of his few roles as a leading man, stars as a doctor who tries to stop the silent invasion. The film's direction by Don Siegel is simple but effective: the sense of suspense and doom is created not by visual effects or elaborate settings but by consistently placing McCarthy where he has to hide in smaller and smaller and darker and darker places. At the end when McCarthy finally does break away, he bursts forth onto the freeway to warn the rest of the world before it's too late - one of the most famous moments in cinematic history. Originally the film was to end there but studio heads demanded a less depressing conclusion and a more conventional finale was added. The film has frequently been called an allegory for McCarthyism, but it can be enjoyed at face value as an excellent example of 1950s science fiction.

The main character is the only guy in town who seems to know what's going on here. Did nobody else in the town realize what was going on and report it to the authorities??

By any conceivable standard, the original INVASION OF THE BODY SNATCHERS is one of the greatest Sci-fi films ever made. There was also an excellent sequel in 1978 starring Donald Sutherland, but it lacked the wider political situation that gave the original so much power. That the original is such a great film is a bit surprising. It was, on the face of it, merely another fifties Sci-fi film, with a cast of relatively unknown performers (except for Dana Wynter). The plot was excruciatingly simple: the residents of a small California town are being systematically replaced by clones produced by large pods that are being brought there in vast numbers. As various people that the central characters know get replaced by clones, the paranoia builds to a degree unmatched in any other film.

There has been an ongoing debate as to whether the film is best read as an attack on McCarthyism or a commentary on communist infiltration, or perhaps merely as an attack on conformity in general. In the end, I don't think it matters. What is important is the intensity of the paranoia that the situation engenders. Between the suspicion of one's peers and the incredible tension created by the need of the characters to not fall asleep (the pods take over the moment one falls asleep, if only for a brief second), this is one of the most emotionally stressful films ever made. The moment when, near the end of the film, Kevin McCarthy looks into the face of Dana Wynter and realizes that she has drifted off to sleep for a brief second is one of the most horrible moments I know in Sci-fi.

The film is just so incredibly well done that it is hard to find too many things to praise. The threat of alien invasion is greatly intensified by its taking place in a quiet, peaceful small town. The inhabitants all look so remarkably pleasant, and yet their goal is to rob each individual of his or her soul. The cinematography is extraordinary. If one watches the film on DVD and freezes the screen randomly, one thing that becomes obvious is how magnificently nearly every shot is framed. Everything-the acting, the script, the cinematography-blends together to make this not merely what is arguably the finest fifties Sci-fi film, but one of the greatest psychological thrillers ever made.

A classic sci-fi thriller made on a small budget with a relatively unknown cast and no special effects. A small American town is invaded by strange pods from outer space and the residents are replaced by soulless duplicates of themselves which hatch from the pods. Kevin McCarthy in one of his few roles as a leading man, stars as a doctor who tries to stop the silent invasion. The film's direction by Don Siegel is simple but effective: the sense of suspense and doom is created not by visual effects or elaborate settings but by consistently placing McCarthy where he has to hide in smaller and smaller and darker and darker places. At the end when McCarthy finally does break away, he bursts forth onto the freeway to warn the rest of the world before it's too late - one of the most famous moments in cinematic history. Originally the film was to end there but studio heads demanded a less depressing conclusion and a more conventional finale was added. The film has frequently been called an allegory for McCarthyism, but it can be enjoyed at face value as an excellent example of 1950s science fiction.

Highly entertaining movie. A baseball film, yes, but more than that. Susan Surrandon's character is learning so much about herself even as she imagines she is teaching a young man. Kevin Costner's character is as smooth and cool as they come--No wonder Susan's character wants him oh-so-badly! Tim Robbins does a great job as a young doofus who still has our interest and sympathy. Funny and touching.

Ebby Calvin Laloosh (Tim Robbins) has a million dollar arm but no control over it. The poor mascot gets hit about as often as it goes over the plate. So the Durham Bulls brings in Crash Davis (Kevin Costner) to get him on track. Crash has been a long time minor league player and even did a stint in the Show. His career is ending and he is not thrilled to be called in to train the slow witted, strong armed Laloosh. If anyone can get Nuke, whom Crash calls "Meat", to learn how to control his gift, it would be Crash... or maybe Annie.

It is not clear to me just what is the official capacity of Annie Savoy (Susan Sarandon) and Millie (Jenny Robertson). Unofficially, though, they watch and critique the players on their games on the field and in the bedroom. Annie hooks up with one ball player each season and, for that season, is committed to that one player's improvement in both arenas. When she hooks up with Nuke, sparks fly between her and Crash as they both work on Nuke's performance on the field and it becomes indelibly tied to his performance in bed.

Trey Wilson and Robert Wuhl make a hilarious team as the Manager and Assistant Manager of the Durham Bulls. From Wilson's "Lollygagger" speech to Wuhl's pitcher's mound huddle over how to get a curse off of a player's glove and what to get another player as a wedding gift, these two alone are fun to watch.

This is a movie for adults - Kevin Costner has his great "I Believe in" speech in this movie and Susan Sarandon's relationships are highly sexual ... in a sensual sort of way. It is definitely inappropriate for kids and you'll be blushing till the cows come home if you watch this with your teenagers. But don't get me wrong - it is VERY well handled and is a very strong and very sensual movie.

One of the things that I enjoyed about this movie was the realism. It showed how cruel the business of baseball can be while also highlighting how much fun the game can be. The director really made this more about the life of a minor leaguer and less about baseball. You get a great look at off-field stories that go on in the "bus leagues" highlighted by Kevin Costner's character mentoring the character played by Tim Robbins. In addition, a great job in casting was done because the baseball action was also very good too. The actors all looked like they could play.

Highly entertaining movie. A baseball film, yes, but more than that. Susan Surrandon's character is learning so much about herself even as she imagines she is teaching a young man. Kevin Costner's character is as smooth and cool as they come--No wonder Susan's character wants him oh-so-badly! Tim Robbins does a great job as a young doofus who still has our interest and sympathy. Funny and touching.

Ebby Calvin Laloosh (Tim Robbins) has a million dollar arm but no control over it. The poor mascot gets hit about as often as it goes over the plate. So the Durham Bulls brings in Crash Davis (Kevin Costner) to get him on track. Crash has been a long time minor league player and even did a stint in the Show. His career is ending and he is not thrilled to be called in to train the slow witted, strong armed Laloosh. If anyone can get Nuke, whom Crash calls "Meat", to learn how to control his gift, it would be Crash... or maybe Annie.

It is not clear to me just what is the official capacity of Annie Savoy (Susan Sarandon) and Millie (Jenny Robertson). Unofficially, though, they watch and critique the players on their games on the field and in the bedroom. Annie hooks up with one ball player each season and, for that season, is committed to that one player's improvement in both arenas. When she hooks up with Nuke, sparks fly between her and Crash as they both work on Nuke's performance on the field and it becomes indelibly tied to his performance in bed.

Trey Wilson and Robert Wuhl make a hilarious team as the Manager and Assistant Manager of the Durham Bulls. From Wilson's "Lollygagger" speech to Wuhl's pitcher's mound huddle over how to get a curse off of a player's glove and what to get another player as a wedding gift, these two alone are fun to watch.

This is a movie for adults - Kevin Costner has his great "I Believe in" speech in this movie and Susan Sarandon's relationships are highly sexual ... in a sensual sort of way. It is definitely inappropriate for kids and you'll be blushing till the cows come home if you watch this with your teenagers. But don't get me wrong - it is VERY well handled and is a very strong and very sensual movie.

One of the things that I enjoyed about this movie was the realism. It showed how cruel the business of baseball can be while also highlighting how much fun the game can be. The director really made this more about the life of a minor leaguer and less about baseball. You get a great look at off-field stories that go on in the "bus leagues" highlighted by Kevin Costner's character mentoring the character played by Tim Robbins. In addition, a great job in casting was done because the baseball action was also very good too. The actors all looked like they could play.

Jewel(the Singer) shines in this film as Sue Lee Shelly, a daughter who helps out Tobey Maguire(Spider-Man), Simon Baker(tv's The Guardian), Jeffrey Wright(Crime and Punishment In Suburbia) and Skeet Ulrich's(The Newton Boys) characters. lots of gunplay in this one and blood splatter. powerful and somewhat over the top with the N word. though somepeople might flinch when Maguire amputates Ulrich's arm. other great actors appear, like Jonathan Rhys Meyers(Velvet Goldmine), Mark Ruffalo(The Last Castle), James Caviezel(The Thin Red Line), Jonathan Brandis(Stephen King's IT), Thomas Guiry(Tigerland) and Tom Wilkinson(In the Bedroom).

The only reason that I wanted to see this movie was because my favorite singer, Jewel was in it. The first time I saw this movie I loved it, and I still do. :o) I loved the story, the acting, the music, and everything about it. Especially Jewel. She was SO amazing as Sue Lee Shelly, and Jewel is an amazing actress (unlike other singers like Mariah Carrey and Britney Spears ^^). The other actors in the movie are excellent too. I recommend this movie to movie fans, and Jewel fans. I also loved Jewel's music video "What's Simple is True".

Nothing illustrates the decay of taste in America as much as the lack of support from critics for this remarkable film. By far the most important work Ang Lee has done the movie makes the top of my list in several categories. It's the best Civil War movie ever made, it's the best ride and shoot (you know, six guns and horses) movie ever made. It's the best character study of a slave ever commited to film. The performances are across the board wonderful. Simon Baker and Jeffery Wright are particularly remakarble, they're relationshp being one of the most unique and poignant I've seen in a film for decades. Even Jewel is good. What a movie. I've watched it five times since discovering it in the discount tray at my local video store. Ang Lee deserves so much credit for doing this movie. The critical community should be ashamed of giving it so little positive attention.

LETHAL WEAPON is an action masterpiece, and one of my most favorite films. Mel Gibson and Danny Glover star as two extremely mismatched cops; one is on the edge after losing his wife in a car crash, the other is a newly-turned 50-year-old just trying to keep alive. Together they're slowly learning to like each other; when they do, they'll have to try to take down a secret drug ring run by Vietnam vets. Richard Donner's directing is very good, from a witty script by Shane Black; the score, by Eric Clapton and Michael Kamen, is one of the best and most jazzy film scores I've heard. There's plenty of action, plenty of thrills, but not plenty enough; you'll want this film to never end. An interesting version is this Director's Cut, which features more emphasis on Riggs' suicidal attitude. If you want action, if you want hilarious comedy, if you want non-stop entertainment - you want LETHAL WEAPON.

Gunfights abound in this action classic from director Richard Donner. The plot is similar now, being about two very different cops who become partners and, by the end of the film, best friends. Mel Gibson is Riggs, a suicidal gung-ho type with a quick wit and a quicker gun. Danny Glover is Murtaugh, an aging cop who couldn't be more different from Riggs. The two team up to take on a few drug dealers, and on the way kill a few more bad guys. What makes this film work so well and rise above the typical action movie is the attention paid to its characters. Both Murtaugh and Riggs are very well developed as we see little vignettes of their lives. It's also interesting how the two become friends as they help each other out. Gibson and Glover both do excellent performances, but it's Gibson who shines the most as the crazy cop. This is a must-see for all genre fans.

This is old skool cop stuff of the 80's but still a great good cop bad cop flick. Just like the crime fighting duo you can't get enough of follow these two trouble makers as they bust down doors and break up underground dope peddlers. Good story line and great stunts. Action packed. Mel Gibson is crazy and Danny Glover is just trying to live long enough to retire.

LETHAL WEAPON is an action masterpiece, and one of my most favorite films. Mel Gibson and Danny Glover star as two extremely mismatched cops; one is on the edge after losing his wife in a car crash, the other is a newly-turned 50-year-old just trying to keep alive. Together they're slowly learning to like each other; when they do, they'll have to try to take down a secret drug ring run by Vietnam vets. Richard Donner's directing is very good, from a witty script by Shane Black; the score, by Eric Clapton and Michael Kamen, is one of the best and most jazzy film scores I've heard. There's plenty of action, plenty of thrills, but not plenty enough; you'll want this film to never end. An interesting version is this Director's Cut, which features more emphasis on Riggs' suicidal attitude. If you want action, if you want hilarious comedy, if you want non-stop entertainment - you want LETHAL WEAPON.

Gunfights abound in this action classic from director Richard Donner. The plot is similar now, being about two very different cops who become partners and, by the end of the film, best friends. Mel Gibson is Riggs, a suicidal gung-ho type with a quick wit and a quicker gun. Danny Glover is Murtaugh, an aging cop who couldn't be more different from Riggs. The two team up to take on a few drug dealers, and on the way kill a few more bad guys. What makes this film work so well and rise above the typical action movie is the attention paid to its characters. Both Murtaugh and Riggs are very well developed as we see little vignettes of their lives. It's also interesting how the two become friends as they help each other out. Gibson and Glover both do excellent performances, but it's Gibson who shines the most as the crazy cop. This is a must-see for all genre fans.

This is old skool cop stuff of the 80's but still a great good cop bad cop flick. Just like the crime fighting duo you can't get enough of follow these two trouble makers as they bust down doors and break up underground dope peddlers. Good story line and great stunts. Action packed. Mel Gibson is crazy and Danny Glover is just trying to live long enough to retire.