---
title: "Lethal Weapon"
year: 1987
kind: "film"
canonical: "https://film.one/film/lethal-weapon"
fi1m_id: "lethal-weapon"
imdb_id: "tt0093409"
tmdb_id: 941
wikidata_id: "Q462447"
fi1m_score: 80
critics_score: 78
critics_reviews: 11
published: "2026-09-15"
updated: "2026-09-18T08:38:36.426482+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Lethal Weapon (1987)

Directed by Richard Donner · 1h 50m · MPA R · Action, Thriller, Crime

## Identity

Lethal Weapon

- **Canonical:** https://film.one/film/lethal-weapon
- **Type:** Film
- **Fi1m ID:** lethal-weapon
- **IMDb ID:** tt0093409
- **TMDB ID:** 941
- **Wikidata ID:** Q462447
- **Same entity:** https://www.imdb.com/title/tt0093409/, https://www.themoviedb.org/movie/941, https://www.wikidata.org/wiki/Q462447

**Fi1m score: 80** · Critics 78 from 11 reviews

*In a sentence:* Danny Glover has a family to get home to and Mel Gibson for a partner, which seems an unreasonable combination

> Richard Donner’s police thriller is funny, forceful and worth forgiving for its untidy plotting. Mel Gibson and Danny Glover make the partnership matter, even when Shane Black’s script takes the easier route towards another confrontation.

## Synopsis

Martin Riggs (Mel Gibson) is a police detective with little concern for his own survival. Roger Murtaugh (Danny Glover) is a family man who has rather more reason to get home safely. Put together as partners, they approach a case involving murder and corruption with incompatible ideas about acceptable risk. Riggs’s suicidal behaviour makes him a problem for his partner as well as a threat to anyone confronting him. Murtaugh has to work beside a man whose willingness to put himself in danger makes an already difficult job harder to control.

## Review

*Lethal Weapon* gives its two policemen a useful disagreement: one wants to stay alive, while the other is not much concerned about that. Richard Donner understands how much more this offers than a routine clash of personalities, and lets the danger persist beneath the banter. It is a vigorous, funny action thriller whose leads deserve most of the credit for making its familiar machinery work. We recommend it, provided neat police procedure is not the chief attraction.

Mel Gibson plays Martin Riggs with enough volatility to make the usual reckless-cop routine uncomfortable. His suicidal behaviour gives the action an unpleasant possibility: he may be less interested in catching anyone than in getting himself hurt. We were unnerved by his indifference to his own safety, because it makes his partner’s exposure to danger feel careless rather than heroic. Gibson can be funny without entirely reassuring us, and that uncertainty stops Riggs becoming merely the man who does the stunts.

Danny Glover’s Roger Murtaugh gives that performance someone substantial to push against. The family man could have been reduced to a succession of disapproving looks, but Glover makes his caution sensible and his irritation enjoyable. We believe that he has things to lose, which does more for the suspense than another display of Riggs’s nerve would. Their exchanges work because Glover’s objections deserve to be heard, even when Gibson is doing everything possible to distract us.

Donner is equally useful when the talking stops. Stephen Goldblatt’s cinematography gives the violence a polished, showy finish, and that suits a film whose crashes are meant to be enjoyed as much as feared. Stuart Baird’s editing keeps the action moving without letting the two leads disappear into it; their contrasting temperaments remain part of the attraction even when the pace rises. At 110 minutes, the film has room for the partnership to develop, although the explanatory passages are appreciably less nimble.

J. Michael Riva’s production design is most useful in making Murtaugh’s family life feel like something Riggs might need. Those domestic surroundings give the danger a consequence that the police plot struggles to provide on its own. Michael Kamen and Eric Clapton’s score helps the film move between the partners’ banter and Riggs’s unhappiness. The music makes space for both, and handles those changes more comfortably than the script does.

Shane Black’s screenplay is less sure-footed whenever it has to explain the case. The murder and corruption supply enough trouble to keep the partners occupied, but the exposition slows their progress and the logic asks for indulgence. Gary Busey’s performance as Mr. Joshua has a blunt force that is welcome among these complications, although he cannot make the investigation more convincing. Some of the explanations could go without damaging our interest in what happens next, which is usually a sign that they were not needed.

Against the buddy-cop formula, Donner’s achievement is to give the reckless partner’s behaviour some troubling weight while still delivering the expected amusement. The film depends heavily on its actors to manage that combination, and they repay the trust. Their partnership remains engaging even when the case gives us little reason to pay close attention. Choose it for Gibson and Glover, and do not expect the paperwork to withstand inspection.

*Fi1m score 80, published 15 September 2026.*

## What the critics say

All eleven reviews come down on the film’s side. Almost every critic names Mel Gibson’s Martin Riggs as the reason to watch: a suicidal detective played at full pitch, manic and dangerous, holding the eye through every crash. His pairing with Danny Glover’s steady family man draws the next most praise; the reviews treat the odd-couple friction as the engine of the film. Richard Donner’s fast direction, the stunts and Shane Black’s script are credited with carrying a familiar formula on energy rather than novelty.

The reservations are mild and mostly about plausibility. Several critics find the plot thin or illogical and say the film gets by regardless; The Hollywood Reporter thinks the central conflict takes too long to arrive and complains of slack expository scenes. Slant Magazine, writing later, objects to the series’ casual attitude to police violence. The spread is narrow, from good to admiring, with most of the later retrospective reviews warmer than the notices from its release.

## Straight answers

**Is Lethal Weapon worth watching?**

*Lethal Weapon* is worth watching for anyone who enjoys a buddy-cop thriller carried by its two leads, and we scored it 80. Mel Gibson and Danny Glover make the partnership matter, and Richard Donner keeps real danger beneath the banter. Shane Black's plotting is untidy and the exposition drags, so come for the pair rather than the case.

**How long is Lethal Weapon, and what is it rated?**

*Lethal Weapon* runs 1h 50m and is rated R by the MPA in the US. It is an action and thriller film.

**Where can I watch Lethal Weapon in the US?**

*Lethal Weapon* is not on any streaming or rental service in the US at the moment. It is available in 13 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is Lethal Weapon, and is it suitable for children?**

*Lethal Weapon* carries an 18 certificate in the UK and an R in the US, and it is not suitable for children. The violence is polished and frequent, and Riggs's suicidal behaviour gives the action an unsettling edge that unnerved us. It suits adults who can take a forceful police thriller; teenagers and the squeamish should look elsewhere.

**How does Lethal Weapon compare to The Defiant Ones?**

*Lethal Weapon* and [*The Defiant Ones*](https://film.one/film/the-defiant-ones) both put two unwilling men together and make survival depend on their getting along, but the earlier film is a grim chase and the later one an action comedy. Kramer's film is the more serious and states its message plainly; Donner's is the funnier and the more enjoyable as spectacle. Choose Kramer for weight, Donner for entertainment.

**What should I watch after Lethal Weapon?**

After *Lethal Weapon*, try [*48 Hrs.*](https://film.one/film/48-hrs) (1982, Fi1m 78): Another abrasive partnership where mutual irritation does useful work between the action scenes. Then [*The Defiant Ones*](https://film.one/film/the-defiant-ones) (1958, Fi1m 74): Two unwilling companions discover that survival requires more than winning the argument; and [*Memories of Murder*](https://film.one/film/memories-of-murder) (2003, Fi1m 91): Clashing detectives and unruly humour, but the failed police work carries lasting consequences.

### Reviews we read (11)

- **RogerEbert.com**, Roger Ebert (90/100, inferred): The critic praises the film as an exhilarating action thriller that succeeds through its high energy and style rather than originality. He singles out the buddy dynamic between Mel Gibson's suicidal cop and Danny Glover's family man for making the characters engaging amid the mayhem. [Read](https://www.rogerebert.com/reviews/lethal-weapon-1987)
- **Slant Magazine**, Calum Marsh (3.5/4): The critic praises the Lethal Weapon films as highly entertaining and efficient action-comedies that are among the most watchable blockbusters, thanks to Richard Donner's direction and the stars' chemistry. They single out the series' cavalier attitude toward police violence and its ideological implications for complaint. [Read](https://www.slantmagazine.com/dvd/lethal-weapon-collection/)
- **Empire**, Gavin Bainbridge (85/100, inferred): The critic praises the film's sharp script, first-class stunts, and the effective odd-couple dynamic between Gibson and Glover, noting its well-woven plot of murder and corruption. They single out the convincing performances and the formula's success in delivering pace and action. [Read](https://www.empireonline.com/movies/reviews/lethal-weapon-review/)
- **Los Angeles Times**, Michael Wilmington (70/100, inferred): The critic finds the film a shallow, flashy buddy-cop thriller that works despite logical holes thanks to its jazzy direction and strong lead performances. Gibson's manic, mythic-hero turn as the suicidal Riggs is singled out as the central driving force. [Read](https://www.latimes.com/archives/la-xpm-1987-03-06-ca-4934-story.html)
- **Radio Times**, John Marriott (70/100, inferred): The film delivers entertainment through its over-the-top implausibility and escalating set pieces. Mel Gibson and Danny Glover's contrasting chemistry as the leads brings spirit and fun to the action. [Read](https://www.radiotimes.com/movie-guide/b-ort5xi/lethal-weapon/)
- **The Hollywood Reporter**, Duane Byrge (70/100, inferred): The critic praises the hard action scenes, traditional buddy banter, and especially Mel Gibson's sensational, explosive performance as the frazzled cop on the edge, along with strong work from Danny Glover and Gary Busey. Complaints focus on the plot not locking in the conflict early enough, too many lame expository scenes, and dialogue that doesn't fully jell compared to similar films. [Read](https://www.hollywoodreporter.com/movies/movie-news/lethal-weapon-1987-review-i-original-movie-983419/)
- **The New York Times**, Janet Maslin (70/100, inferred): The review describes the film as a hard-boiled, high-voltage police thriller focused on nonstop crashes and action. It highlights Mel Gibson's energetic, madcap performance as the suicidal detective Martin Riggs while noting the contrast with the more grounded family elements. [Read](https://www.nytimes.com/1987/03/06/movies/film-lethal-weapon-a-thriller-with-gibson.html)
- **Time Out**, CB (70/100, inferred): Gibson brings charm and a death-wish intensity to his role as a lethal cop partnered with Glover's family man. The stylish, violent thriller stands out for escaping soldier-home clichés through the lead's appeal. [Read](https://www.timeout.com/movies/lethal-weapon-5)
- **Variety**, Variety Staff (70/100, inferred): The review notes the film teeters on absurdity but succeeds due to its unrelenting energy and drive. It singles out Mel Gibson's compelling, dangerous performance as the key element holding interest amid the buddy-cop and action elements. [Read](https://variety.com/1986/film/reviews/lethal-weapon-1200427203/)
- **Den of Geek**, Guy Buckland (90/100, inferred): The critic calls the original Lethal Weapon a flat-out classic with unique energy from its unmolested Shane Black script and the standout chemistry between Mel Gibson and Danny Glover. They single out the film's handling of Riggs' emotional trauma and the bro-mantic resolution for praise. [Read](https://www.denofgeek.com/movies/lethal-weapon-looking-back-at-the-original/)
- **Eye for Film**, Stephen Carty (90/100, inferred): The first film in the series is the best due to its stronger balance of emotion, humour and action compared to the more explosion-heavy sequels. The critic singles out Mel Gibson's intense, career-best performance as the suicidal Riggs and the strong chemistry with Danny Glover. [Read](https://www.eyeforfilm.co.uk/review/lethal-weapon-film-review-by-stephen-carty)

## Details

- **Director:** Richard Donner
- **Director:** Richard Donner
- **Screenplay:** Shane Black
- **Cinematography:** Stephen Goldblatt
- **Editor:** Stuart Baird
- **Music:** Eric Clapton, Michael Kamen
- **Production design:** J. Michael Riva
- **Costume design:** Mary Malin
- **Producer:** Richard Donner, Joel Silver
- **Cast:** Mel Gibson as Martin Riggs; Danny Glover as Roger Murtaugh; Gary Busey as Mr. Joshua; Mitchell Ryan as General Peter McAllister; Tom Atkins as Michael Hunsaker; Darlene Love as Trish Murtaugh; Traci Wolfe as Rianne Murtaugh; Jackie Swanson as Amanda Hunsaker
- **Runtime:** 1h 50m
- **Certificate (MPA):** R
- **Release (the US):** 6 March 1987
- **Genres:** Action, Thriller, Crime
- **Budget:** $15 million
- **Box office:** $120 million
- **Trailer:** https://www.youtube.com/watch?v=RLu49mRcmYs

## Where to watch in the US

Not streaming, renting or buying in the US at the last check.

Also available in: AR, AU, BE, BR, CA, CL, CO, EC, FR, IT, MX, PA, PE. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 1988: Best Sound (nominated)

## If you liked this

- *48 Hrs.* (1982), Fi1m 78: Another abrasive partnership where mutual irritation does useful work between the action scenes — [Fi1m page](https://film.one/film/48-hrs.md)
- *The Defiant Ones* (1958), Fi1m 74: Two unwilling companions discover that survival requires more than winning the argument — [Fi1m page](https://film.one/film/the-defiant-ones.md)
- *Police Story* (1985): Jackie Chan gives police work alarming physical consequences and considerably better footwork
- *Memories of Murder* (2003), Fi1m 91: Clashing detectives and unruly humour, but the failed police work carries lasting consequences — [Fi1m page](https://film.one/film/memories-of-murder.md)
- *Hot Fuzz* (2007), Fi1m 84: An incompatible police partnership, with affection for every excess it sends up — [Fi1m page](https://film.one/film/hot-fuzz.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/lethal-weapon