Lethal Weapon 2 (1989)

Total Page：16

File Type：pdf, Size：1020Kb

Q3 2019 85 Tekst: Luc Quadackers AT THE MOVIES LETHAL WEAPON 2 (1989) Eerlijk is eerlijk: als er geen boekhouder in deze film voor zou komen, dan was ik na een kwartier afgehaakt. Een groot deel ontstijgt amper het B-niveau. Of zoals een vriend van mij zou zeggen: “In z’n genre is hij slecht.” De boekhouder lijkt vervolgens niet eens echt van belang te zijn voor het verhaal. Ongemerkt vormt Joe Pesci als boekhouder Leo Getz (‘Whatever you need, Leo gets’) echter de kurk waarop de film drijft. Getz is kroongetuige in een witwaszaak, waarin hij zelf de hand heeft gehad. Hij heeft bovendien geld afgeroomd van de boeven, die hem dat niet in dank afnemen (in de film wordt overigens geflirt met het ‘Robin Hood-element’). Twee agenten (Mel Gibson en Danny Glover), met een geheel eigen moraal en aanpak, moeten Getz beschermen tot aan de rechtszaak. Getz speelt verder geen belangrijke rol, maar gaat overal mee op pad en bemoeit zich met het politiewerk. Al zegt hij zelf: “I usually stay in the car.” Het mooiste vindt hij de politiewapens en het aanzetten van de sirene. Ook geeft Getz een vrij uitgebreide technische uitleg van een witwasconstructie (wat doet dat trouwens in de film, en wie begrijpt het zonder tien keer te kijken?) en een waarschuwing voor de drive-thru bij hamburgerketens: “Always go to the counter, never go through the drive-thru. They fuck you at the drive-thru.” Tijdens een martelsessie door de crooks houdt hij zijn rug recht (waarom dat nodig zou zijn is overigens onduidelijk). Maar de mooiste metafoor is toch de accountant als een voor velen onzichtbaar fundament van een onderneming (in dit geval een film). Zijn aanwezigheid lijkt misschien onnodig, maar zonder hem mis je iets wezenlijks. Q32019_084-At the movies.indd 85 10-09-19 12:36.

Copy Link

Recommended publications

L3702 LETHAL WEAPON 2 (USA, 1989) (Other Titles: Arma Lethale 2; Arme Fatale 2; Brennpunkt L.A.; Dodbringende Veben 2)
L3702 LETHAL WEAPON 2 (USA, 1989) (Other titles: Arma lethale 2; Arme fatale 2; Brennpunkt L.A.; Dodbringende veben 2) Credits: director, Richard Donner ; writer, Jeffrey Boam. Cast: Mel Gibson, Danny Glover, Joe Pesci, Joss Ackland. Summary: Police thriller set in contemporary Los Angeles. Detectives Riggs (Gibson) and Murtaugh (Glover) must guard a free-wheeling witness (Pesci) in a drug money laundering scheme run by South African diplomats. A comedy of car chases, gun battles, and under-water escapes. Ansen, David. “The arts: Movies: Gibson and Glover return: ‘Lethal weapon 2’ serves up sadism with a smile” 114 Newsweek (Jul 17, 1989), p. 53. [Reprinted in Film review annual 1990] Avins, Mimi. “Shot by shot” Premiere 2/12 (Aug 1989), p. 72-6. Baumann, Paul D. “Screen: Scorching the screen” Commonweal 116 (Oct 6, 1989), p. 529-30. Blair, Iain. “Movies: Mel’s lethal appeal: He’s got killer looks, but shucks, Gibson’s just one of the guys” Chicago tribune (Jul 9, 1989), Arts, p. 4. Blois, Marco de. “Lethal weapon II” 24 images 44-45 (autumn 1989), p. 109. Broeske, Pat H. “A high-caliber Danny Glover” Los Angeles times (Jul 11, 1989), Calendar, p. 1. “Business: Talk about placements” Newsweek 114 (Jul 31, 1989), p. 50. Carr, Jay. “Three stooges with guns” Boston globe (Jul 7, 1989), Arts and film, p. 41. Christensen, Johs H. “Dodbringende veben 2” Levende billeder 5 (Sep 1989), p. 47. Clark, Mike. “‘Lethal 2’ is loaded with bang and blanks” USA today (Jul 7, 1989), p. 1D. Cliff, Paul. “Movie trax” Film monthly 1 (Dec 1989), p.
[Show full text]
Feature Films
Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243
[Show full text]
Worldradiohistory.Com › Archive-Billboard › 90S › 1990 › BB
IN THIS ISSUE # t% * ***-x*;: *3- DIGIT 908 006817973 4401 9013 MAR92QGZ PolyGram Has `Fine' MONJTY GREENLY APT A Future In U.S., Says 3740 ELM LONG BEACH CA 90807 Label's Global Chief PAGE 6 Simmons Links Rush Labels With Columbia PAGE 6 R THE INTERNATIONAL NEWSWEEKLY OF MUSIC AND HOME ENTERTAINMENT March 31, 1990/$4.50 (U.S.), $5.50 (CAN.), £3.50 (U.K.) Newest Sell -Thru Megahit Pubs, Writers On Lyric Sidelines A `Honey' In Sales, Rentals Trade Groups Won't Fight Labeling Bills vol- BY EARL PAIGE disers because it's a family movie. BY BILL HOLLAND feels the industry needs to take We also see it promising as a gift Tennessee Stickering Bill Appears untary self-regulation more serious- LOS ANGELES -The Buena Vista item." WASHINGTON, D.C. -The leading To Have Fizzled Out ... See Page 5 ly. Home Video release "Honey, I Video buyer Gail Reed at 54 -store associations of music publishers and "NMPA has no position on this as Shrunk The Kids," the last of three Spec's Music in Miami says, "Every songwriters have decided not to join ers and writers, have joined the re- yet," Murphy says. "While no one is for a moment there shouldn't closely watched early -1990 sell - piece rented." In terms of sales, the music industry fight against the cently formed Coalition Against Lyr- saying through blockbusters, jumped out though, she says the Disney comedy passage of state record-labeling bills ics Legislation. be First Amendment protection, free of the box with solid showings in is running "100 pieces" behind at this time.
[Show full text]
Richard Donner Biography
COUNCIL FILE NO. 08- ~/)'1 COUNCIL DISTRICT NO. 13 APPROVAL FOR ACCELERATED PROCESSING DIRECT TO CITY COUNCIL The attached Council File may be processed directly to Council pursuant to the procedure approved June 26, 1990, (CF 83-1075-S1) without being referred to the Public Works Committee because the action on the file checked below is deemed to be routine and/or administrative in nature: _} A. Future Street Acceptance. _} B. Quitclaim of Easement(s). _} C. Dedication of Easement(s). _} D. Release of Restriction(s) . .20 E. Request for Star in Hollywood Walk of Fame. _} F. Brass Plaque(s) in San Pedro Sport Walk. _} G. Resolution to Vacate or Ordinance submitted in response to Council action. _} H. Approval of plans/specifications submitted by Los Angeles County Flood Control District. APPROVAL/DISAPPROVAL FOR ACCELERATED PROCESSING: APPROVED DISAPPROVED* ~. Council Office of the District V2· Public Works Committee Chairperson *DISAPPROVED FILES WILL BE REFERRED TO THE PUBLIC WORKS COMMITTEE. Please return to Council Index Section, Room 615 City Hall City Clerk Processing: Date notice and report copy mailed to interested parties advising of Council date for this item. Date scheduled in Council. AFTER COUNCIL ACTION: ----' Send copy of adopted report to the Real Estate Section, Development Services Division, Bureau of Engineering (Mail Stop No. 515) for further processing. ----' Other: PLEASE DO NOT DETACH THIS APPROVAL SHEET FROM THE COUNCIL FILE ACCELERATED REVIEW PROCESS - E Office of the City Engineer Los Angeles, California To the Honorable Council SEP 2 4 2008 Ofthe City of Los Angeles Honorable Members: C.
[Show full text]
Time Highest Grossing Movies in the United States Since 1977, Inflation Adjusted
All Time Highest Grossing Movies in the United States Since 1977, Inflation Adjusted The chart below contains figures for all 457 movies to make over $100 million at the US box office, adjusted for ticket price inflation. Note: This chart is adjusted for ticket price inflation. The gross is estimated based on how much the movie would have made if it sold as many tickets today as when it was originally released. The chart takes into account re-releases during the life of the movie. Released Film Name Total Box Office 1 1977 Star Wars $1,012,785,986 2 1982 ET: The Extra-Terrestrial $836,075,432 3 1997 Titanic $801,330,773 4 1980 Empire Strikes Back, The $591,388,817 5 1983 Return of the Jedi $578,423,035 6 1993 Jurassic Park $536,911,818 7 1999 Star Wars: Phantom Menace $529,866,325 8 1981 Raiders of the Lost Ark $515,440,596 9 1994 Forrest Gump $499,673,369 10 1994 Lion King, The $475,768,310 11 1977 Close Encounters of the Third Kind $463,013,454 12 1978 Grease $444,630,884 13 1984 Ghostbusters $441,694,049 14 2004 Shrek 2 $436,721,700 15 2002 Spider-Man $432,940,282 16 1996 Independence Day $430,853,566 17 1990 Home Alone $421,602,958 18 1984 Beverly Hills Cop $421,137,739 19 1989 Batman $391,577,724 20 2003 Lord of the Rings: The Return of the King $386,177,918 21 2004 Spider-Man 2 $373,524,485 22 2004 Passion of the Christ, The $370,498,399 23 1985 Back to the Future $367,692,308 24 2002 Lord of the Rings: The Two Towers $363,231,113 25 1999 Sixth Sense, The $359,498,553 26 1978 Superman $356,767,550 27 1982 Tootsie $355,525,404 28 1977 Smokey and the Bandit $353,500,806 29 2003 Finding Nemo $350,418,466 30 2001 Harry Potter and the Sorcerer's Stone $349,106,326 31 2001 Lord of the Rings: The Fellowship of the Ring $342,395,481 32 1996 Twister $340,394,967 33 1997 Men in Black $338,991,039 34 1984 Indiana Jones and the Temple of Doom $332,974,134 35 1993 Mrs.
[Show full text]
Empire Brings Mel Gibson, Danny Glover and Richard Donner Together to Celebrate 25 Years of Buddy-Cop Carnage
0123456789 LETHAL WEAPON REUNION Words: Nick de Semlyen Photography: Austin Hargrave EMPIRE brings Mel Gibson, Danny Glover and Richard Donner together to celebrate 25 years of buddy-cop carnage 98 EMPIRE MAY 2012 empireonline.com Subscribe at www.empireonline.com/sub MAY 2012 EMPIRE 99 LETHAL WEAPON REUNION ID WE TRASH THIS ONE? I’M Weapon reboot recently announced by Warner or whatever you had. CERTAIN WE TRASHED THIS one.” Bros., the timing’s perfect for a sit-down with the GIBSON: Roofalo. It’s what happens when your RICHARD DONNER, DIRECTOR OF trio who made it all happen. That is, if we can get roof caves in. ALL FOUR LETHAL WEAPON FILMS, Gibson to give a straight answer. DONNER: This guy’s jokes! I haven’t heard that one IS STANDING IN A HOLLYWOOD for a while. Dparking lot, appraising a sleek, black Oldsmobile Twenty-five years on, why are people still talking about Delta 88 — an exact replica of the hero car from Lethal Weapon? Richard, Lethal Weapon was your first action movie. Why the first movie, tracked down by Empire for our GIBSON: ’Cause you asked us to? pick that story to tell? 25th anniversary photo shoot. But before Donner DONNER: Wise-ass! Twenty-five years? Boy, DONNER: Because of the characters. They evolved. can recall the fate of the original sedan, a tiny that’s amazing. They had depth. It wasn’t just gratuitous violence. white Smart car zips into the lot. At the wheel, GLOVER: I was a young man... GIBSON: Although there was plenty of that.
[Show full text]
Bosbok Ses Films: Exploring Postheroic Narratives
Bosbok Ses Films: Exploring Postheroic narratives by Danielle Britz A dissertation submitted in fulfillment of the requirements for the degree Master of Arts (Drama and Film Studies) In the Department of Drama at the UNIVERSITY OF PRETORIA FACULTY OF HUMANITIES SUPERVISOR: Chris Broodryk December 2017 ABSTRACT Much of Afrikaans cinema before and after 1994 is characterized by a historically dominant heroic narrative. In response to this dominance, this study offers a postheroic framework for contemporary Afrikaans cinema to demonstrate the ways in which selected contemporary Afrikaans films, especially those films produced by the Bosbok Ses production company – Roepman, Verraaiers and Stuur Groete aan Mannetjies Roux – offer alternatives to Afrikaans cinema’s regular nostalgic and nationalistic indulgences. To arrive at a conceptual framework of the postheroic, this study examines Afrikaner nationalism in traditional historical Afrikaans cinema and contemporary Afrikaans cinema and how it thematically manifests through a heroic narrative. In response to the particular crystallization of nationalism in contemporary Afrikaans cinema, a postheroic framework is demonstrated to negate ideological and social exclusion in selected contemporary Afrikaans films. In this sense, flawed attempts at multiculturalism in contemporary Afrikaans cinema are replaced with double occupancy. This framework is primarily informed by the work of pre-eminent German film scholar Thomas Elsaesser. Elsaesser theorises a postheroic narrative for a European post-nation. Drawing on Elsaesser’s work extensively, this study uses relevant elements of a postheroic narrative to interrogate the social and political content of a contested space such as South Africa. Furthermore, the notion of the postheroic in cinema illuminates and informs my critical reading of the Bosbok Ses historical dramas, Verraaiers (Eilers 2013) and Stuur Groete Aan Mannetjies Roux (Eilers 2013).
[Show full text]
He Wanted to Do Was Go Home and Get a Drink. but at 8:02 Am, Hungover
~ Final Production Information ~ All he wanted to do was go home and get a drink. But at 8:02 a.m., hungover NYPD detective Jack Mosley (BRUCE WILLIS) is assigned a seemingly simple task. Petty criminal Eddie Bunker (MOS DEF) is set to testify before a grand jury at 10:00 a.m. and needs to be taken from lock-up to the courthouse, 16 blocks away. It should take Jack 15 minutes to drop him off at the courthouse and get home. Broken down, out of shape, with a bad leg and a serious drinking problem, Jack’s role on the force is simple – clock in, clock out and stay out of trouble in between. He’s in no mood to deal with a punk who’s been in and out of jail for more than half his life. But beneath the punk in Eddie lies a man committed to turning his life around and constantly searching for “signs” that will lead him to a brighter future. Jack knows better, though – people don’t change. In Eddie he sees only a pathetic rat who was offered a sweet deal... a rat he will be rid of soon enough. When Jack shoves Eddie into the back of his car and pulls out into the morning New York city rush hour, he doesn’t notice the van looming behind them. His head throbbing, and Eddie’s flair for conversation only making it worse, Jack stops off at the local liquor store to pick up some breakfast. As Eddie waits inside the locked car, fuming at getting stuck with Jack as his escort, he’s suddenly faced with a much bigger problem – a loaded gun pointed at his head.
[Show full text]
Art Directors Guild to Induct Four Legendary Women Into Its Hall of Fame at the 20Th Annual Excellence in Production Design Awards on January 31, 2016
FOR IMMEDIATE RELEASE ART DIRECTORS GUILD TO INDUCT FOUR LEGENDARY WOMEN INTO ITS HALL OF FAME AT THE 20TH ANNUAL EXCELLENCE IN PRODUCTION DESIGN AWARDS ON JANUARY 31, 2016 LOS ANGELES, Sept. 9, 2015 -- Four legendary women – Production Designer Carmen Dillon, Production and Costume Designer Patricia Norris, Art Director and Set Designer Dorothea Holt Redmond and Illustrator Dianne Wager – will be inducted into the Art Directors Guild (ADG) Hall of Fame at the Guild’s 20th Annual Excellence in Production Design Awards, it was announced today by ADG Council Chairwoman Marcia Hinds and Awards Executive Producer James Pearse Connelly. The ceremony will be held at the Beverly Hilton Hotel on January 31, 2016. In making the announcement, Hinds said, “These women made great strides in their craft achieving prominence despite designing in a field dominated by men. Acknowledgement of their efforts leads to a more balanced and open Guild. They will be most welcomed into our prestigious Hall of Fame." Last year’s ADG Hall of Fame inductees, which are only given posthumously, were Production Designer John Gabriel Beckman (Monsieur Verdoux), Emmy®-winning Production Designer Charles Lisanby (The Lives of Benjamin Franklin) and Oscar®-winning Art Director Walter H. Tyler (Samson and Delilah. There are presently 44 Production Designers in ADG’s Hall of Fame. Bios and the complete list of inductees can be found at http://www.adg.org/?art=hall_of_fame. CARMEN DILLON (1908 – 2000) As the first female Art Director in the British film industry, Carmen Dillon made history in 1949 when she became the first woman to win an Oscar® for set decoration.
[Show full text]
At the Movies: Lethal Weapon 2 (1989)
MAGAZINE 20 september 2019 At the movies: Lethal weapon 2 (1989) Eerlijk is eerlijk: als er geen boekhouder in deze lm voor zou komen, dan was ik na een kwartier afgehaakt. Een groot deel ontstijgt amper het B-niveau. Of zoals een vriend van mij zou zeggen: “In z’n genre is hij slecht.” » Download dit artikel in pdf De boekhouder lijkt vervolgens niet eens echt van belang te zijn voor het verhaal. Ongemerkt vormt Joe Pesci als boekhouder Leo Getz (‘Whatever you need, Leo gets’) echter de kurk waarop de lm drijft. Getz is kroongetuige in een witwaszaak, waarin hij zelf de hand heeft gehad. Hij heeft bovendien geld afgeroomd van de boeven, die hem dat niet in dank afnemen (in de lm wordt overigens ge irt met het ‘Robin Hood-element’). Twee agenten (Mel Gibson en Danny Glover), met een geheel eigen moraal en aanpak, moeten Getz beschermen tot aan de rechtszaak. Getz speelt verder geen belangrijke rol, maar gaat overal mee op pad en bemoeit zich met het politiewerk. Al zegt hij zelf: “I usually stay in the car.” Het mooiste vindt hij de politiewapens en het aanzetten van de sirene. Ook geeft Getz een vrij uitgebreide technische uitleg van een witwasconstructie (wat doet dat trouwens in de lm, en wie begrijpt het zonder tien keer te kijken?) en een waarschuwing voor de drive-thru bij hamburgerketens: “Always go to the counter, never go through the drive-thru. They fuck you at the drive-thru.” Tijdens een martelsessie door de crooks houdt hij zijn rug recht (waarom dat nodig zou zijn is overigens onduidelijk).
[Show full text]
Affidavit of Performance
OnMedia Advertising Sales 1037 Front Avenue Suite C Columbus , GA31901 Affidavit of Performance Client Name PERDUE FOR SENATE / GA Contract ID 286794 Remarks 62845909-3646 Contract Type Political Bill Cycle 1/21 Bill Type Condensed EAI Broadcast Standard Date Weekday Network Zone Program Name Air Time Spot Name Spot Contract Billing Spot Length Line Status Cost 12/29/2020 Tuesday AEN_E Columbus-Valley-Auburn Killer Cases 2:41 PM DP20-251TH VOTE HD 00:00:30 1 Charged 3.00 * 12/30/2020 Wednesday AEN_E Columbus-Valley-AuburnWOW GA Court Cam 4:47 PM DP20-251TH VOTE HD 00:00:30 1 Charged 3.00 * 12/31/2020 Thursday AEN_E Columbus-Valley-AuburnWOW GA The First 48 4:42 PM DP20-251TH VOTE HD 00:00:30 1 Charged 3.00 * 01/01/2021 Friday AEN_E Columbus-Valley-AuburnWOW GA The First 48 2:13 PM DP20-251TH VOTE HD 00:00:30 1 Charged 3.00 * 01/02/2021 Saturday AEN_E Columbus-Valley-AuburnWOW GA Shockwave 4:44 PM DP20-251TH VOTE HD 00:00:30 1 Charged 3.00 * 01/03/2021 Sunday AEN_E Columbus-Valley-AuburnWOW GA The Fugitive 3:22 PM DP20-251TH VOTE HD 00:00:30 1 Charged 3.00 * 01/04/2021 Monday AEN_E Columbus-Valley-AuburnWOW GA The First 48 4:13 PM DP20-251TH VOTE HD 00:00:30 2 Charged 3.00 * 12/29/2020 Tuesday AEN_E Columbus-Valley-AuburnWOW GA The First 48 6:43 PM DP20-251TH VOTE HD 00:00:30 3 Charged 11.00 * 12/29/2020 Tuesday AEN_E Columbus-Valley-AuburnWOW GA The First 48 7:43 PM DP20-251TH VOTE HD 00:00:30 3 Charged 11.00 * 12/30/2020 Wednesday AEN_E Columbus-Valley-AuburnWOW GA Court Cam 6:17 PM DP20-251TH VOTE HD 00:00:30 3 Charged 11.00 * 12/30/2020
[Show full text]
Thesis Hum 2012 Riley Ej.Pdf
The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University “FROM MATIELAND TO MOTHER CITY: LANDSCAPE, IDENTITY AND PLACE IN FEATURE FILMS SET IN THE CAPE PROVINCE, 1947-1989.” EUSTACIA JEANNE RILEY Thesis Presented for the Degree of DOCTOR OF PHILOSOPHYTown in the Department of Historical Studies UNIVERSITY OF CAPE TOWN Cape December 2012 of Supervisor: Vivian Bickford-Smith University Town Cape of University Table of Contents Abstract v Acknowledgements vii Introduction 1 1 The Cape apartheid landscape on film 4 2 Significance and literature review 9 3 Methodology 16 3.1 Films as primary sources 16 3.2 A critical visual methodology 19 4 Thesis structure and chapter outline 21 Chapter 1: Foundational Cape landscapes in Afrikaans feature films, 1947- 1958 Town 25 Introduction 25 Context 27 1 Afrikaner nationalism and identityCape in the rural Cape: Simon Beyers, Hans die Skipper and Matieland 32 1.1 Simon Beyers (1947) of 34 1.2 Hans die Skipper (1953) 41 1.3 Matieland (1955) 52 2 The Mother City as a scenic metropolitan destination and military hub: Fratse in die Vloot 60 ConclusionUniversity 66 Chapter 2: Mother city/metropolis: representations of the Cape Town land- and cityscape in feature films of the 1960s
[Show full text]