Look, let’s be real. By the time 1992 rolled around, the "buddy cop" genre was basically a caricature of itself. We’d seen the mismatched partners, the "I’m getting too old for this" trope, and the exploding office buildings a thousand times. But when you sit down to watch Lethal Weapon 3, something weird happens. It’s not just another cash-grab sequel. It’s actually the moment where Riggs and Murtaugh stopped being movie characters and started feeling like those chaotic uncles you only see at Thanksgiving.
It’s messy. It’s loud. It’s got Rene Russo playing a woman who can actually kick Mel Gibson’s teeth in. Honestly, that’s why it works.
The Chaos of Riggs and Murtaugh in '92
Most people remember the first Lethal Weapon as a dark, gritty neo-noir about a suicidal vet. The second one had the "diplomatic immunity" guy and the surfboard through the windshield. But the third entry? This is where the franchise leans fully into the "Three Stooges with Glocks" vibe. Director Richard Donner—the same guy who gave us Superman and The Goonies—knew exactly what he was doing here. He stopped trying to make a police procedural and started making a family dramedy that just happened to feature armor-piercing bullets.
The plot is... well, it’s a bit of a MacGuffin. Someone is stealing confiscated weapons from the LAPD lockup. Jack Travis, played by Stuart Wilson, is a former cop turned arms dealer. He’s a decent villain, but let’s be honest: nobody is tuning in to see the logistics of illegal firearm distribution. You’re there to see Danny Glover’s Roger Murtaugh try to survive his final week before retirement while Martin Riggs (Mel Gibson) accidentally blows up an entire city block.
That opening scene? The one with the bomb in the basement of the ICSI building? That wasn't a set. That was the real-life demolition of the former City Hall in Orlando, Florida. Donner convinced the city to let him film it. It’s a massive, practical explosion that sets the tone perfectly: things are going to get loud, and things are definitely going to break.
Why Rene Russo Changed the Entire Equation
If you decide to watch Lethal Weapon 3 tonight, pay attention to Lorna Cole. Before this movie, women in action films were usually there to be rescued or to be the mourning widow. Russo’s Lorna Cole changed that. She’s Internal Affairs. She’s tough. She’s basically the female version of Riggs, but with better hair and a slightly more stable psychological profile.
The Scar Comparison Scene
There is a specific moment in this movie that every fan remembers. It’s the "show me your scars" scene. On paper, it sounds like a cheesy romantic trope. In practice, it’s one of the most effective bits of character building in 90s cinema.
- Riggs shows a scar from a bullet.
- Lorna counters with a scar from a knife fight in Berlin.
- They bond over physical trauma.
- It ends with them realizing they are both equally broken and equally capable.
It’s a masterclass in chemistry. Without Russo, this movie would have felt like a tired retread of the first two. With her, it feels like a genuine evolution of the story. She didn't just join the cast; she forced Riggs to grow up, at least a little bit.
The "Cop Killer" Bullets and 90s Social Anxiety
It’s easy to forget that these movies tried to have a social conscience. Lethal Weapon 2 took on Apartheid. Lethal Weapon 3 took on the rise of urban violence and the terrifying prospect of armor-piercing "cop killer" ammunition.
There’s a heavy emotional core hidden under the jokes. Murtaugh kills a young man named Darryl, who turns out to be a friend of his son. It’s a gut-wrenching scene. It forces the movie to pause and acknowledge that gun violence isn't just a cool special effect—it has consequences. Danny Glover’s performance in the wake of that shooting is probably some of the best acting in the entire series. He’s vulnerable, aging, and genuinely terrified of the world his children are growing up in.
The Problem with Leo Getz
We have to talk about Joe Pesci. Look, people either love Leo Getz or they want to throw a brick at the screen every time he says "Okay, okay, okay!" In the second movie, he was a witness they had to protect. In the third, he’s a real estate agent who just... hangs around? It’s a bit of a stretch, narratively speaking. But Pesci brings a frantic energy that keeps the pacing from sagging. Even if his presence makes zero sense from a legal or professional standpoint, the banter between him, Riggs, and Murtaugh is gold.
Technical Details You Probably Missed
If you’re a film nerd, the technical side of this movie is actually pretty fascinating.
- The Score: Michael Kamen, Eric Clapton, and David Sanborn returned for the music. That signature wailing guitar and saxophone? That’s 90s action personified.
- Stunt Work: This was before CGI took over everything. When you see a car flip or a building explode, a human being was actually there making it happen. The motorcycle chase on the freeway is a prime example of high-stakes practical stunt coordination.
- The Director's Cut: If you can find it, the Director's Cut adds about three minutes of footage. It doesn't change the plot, but it deepens the relationship between Riggs and his dog, and gives a bit more breathing room to the Murtaugh family dynamics.
Common Misconceptions About the Third Installment
A lot of critics at the time said the series had "jumped the shark" with this one. They thought it was too funny. Too light.
I disagree.
The shift from "suicidal loner" to "part of a chaotic family" is a natural progression for Riggs. If he had stayed as depressed as he was in the first movie for three straight films, it wouldn't have been a character arc; it would have been a flat line. Watch Lethal Weapon 3 as a study in how a man finds a reason to live again. It just happens that his reason to live involves jumping off buildings and driving through construction sites.
How to Get the Most Out of Your Rewatch
Don't just have it on in the background. If you're going to dive back into this world, do it right.
- Check the aspect ratio: Make sure you’re watching the widescreen version. The cinematography by Jan de Bont (who went on to direct Speed) uses the edges of the frame brilliantly during the action sequences.
- Listen for the banter: A lot of the dialogue was improvised. The chemistry between Gibson and Glover is so fast that you’ll miss half the jokes if you aren't paying attention.
- Watch the end credits: There is a post-credits scene. In 1992! Marvel didn't invent this. If you turn it off as soon as the names start rolling, you miss one last explosive gag involving a different building.
What to Do After the Credits Roll
If you’ve finished the movie and you’re feeling that 90s action itch, don't just jump straight to the fourth one (which is... okay, but definitely the weakest).
📖 Related: Is the Corpse Bride Movie Rating Actually Safe for Your Kids?
Instead, look into the history of the "Black-and-Blue" genre. Check out The Last Boy Scout, written by Shane Black, who wrote the original Lethal Weapon. It’s a much darker, meaner version of the buddy-cop formula that shows you where this series could have gone if it hadn't embraced the comedy. Or, better yet, go back and watch the 2016 Lethal Weapon TV series—it’s surprisingly better than anyone expected it to be, even if it lacks the Gibson/Glover magic.
To truly appreciate the legacy of this film, pay attention to how it handles the "retirement" trope. It’s the ultimate cliché, yet it works here because we actually care about Murtaugh getting his boat in the water. We want him to make it. That emotional investment is what separates this movie from the endless sea of generic action flicks that flooded the rental shelves in the 90s.
Actionable Insight: If you're looking for the best viewing experience, seek out the 4K remastered versions. The colors of 90s Los Angeles pop in a way that the old DVDs simply can't capture. It makes the fire and the explosions feel significantly more visceral. Stay for the chemistry, laugh at the outrageous 92-era fashion, and appreciate the fact that they really don't make movies with this much practical-effects heart anymore.