#lethal weapon 3 1992

[hedleylamarr]

Lethal Weapon 3 (1992).

[theactioneer]

Lethal Weapon 3 (Richard Donner, 1992)

[panamabarcade]

Un día como hoy en 1992 se estrena la película Lethal Weapon 3.

[fortunaegloria]

Scans of the Brazilian magazine "Video News" from 1992 (FYI I don't know the month) with emphasis on Harrison Ford as Jack Ryan in Patriot Games in the cover. There's an interview with him and a little about the movie, as well as his complete filmography (this time considering movies released on theaters and TV) so far.

In addition to the movie with Harry, the magazine issue also features articles about the movies Lethal Weapon 3, Alien 3 and Far and Away, as well as exclusive interviews with Michael Douglas and Danny DeVito (which I won't emphasize here).

BONUS:

[spockvarietyhour]

Lethal Weapon 3 (1992) directed by Richard Donner

Bonus:

[ciegeinc]

Lethal Weapon 3 (1992) cinematography

[riggsandmurtaugh]

Roger trying to get Riggs stop smoking.

Lethal Weapon 3 (1992).

[pinballhaven]

Lethal Weapon 3 (Data East, 1992)

[oldfangirl81]

Pride Prompt Day 3 : Early signs

Not fiction today. Just my memories as a fortysomething queer woman of early signs I wasn't straight.

Looking back to preschool I remember a crush on a boy. I named my first guinea pig after him. But I also remember really liking this teen volunteer from the temple (I went to a preschool that was connected to a synagogue). I remember seeking her out to push me on the swings.

I loved the baby-sitters club books. Stacey McGill was my favorite. She had type 1 diabetes so while not mine disease it was still something that made her different like me. But in my brain she was the coolest, prettiest, most sophisticated girl. I wanted to be like her. But it was also one of my first fictional crushes.

I adored Disney's Robin Hood (still do). I thought both Robin and Marian were the best. He was handsome. She was beautiful.

I remember thinking one of the woman student doctors was the prettiest. There was a teenager on the peds floor who I was convinced was the real life Stacey McGill, even if diabetes wasn't her issue.

I was teased about being boy crazy with celeb crushes. Tom Cruise and Patrick Swayze were the big ones in the late 80s/very early 90s for me. I watched Top Gun so many times.

I had to look up the dates on these two because time is weird.

My parents didn't really censor what movies I could watch. I was allowed to see Lethal Weapon 3 (1992) when it came out. Rene Russo was everything in that movie to me. And I've mentioned before that comparing scars to sex is embedded in my brain as peak sexy. And Riggs/Cole was ship before I knew what a ship was. The scene where he watches her kickass while reassuring Murtaugh that she didn't need help with an almost swoony sigh also embedded in my brain.

1993 brought the infamous episode of Batman The Animated Series "Harley and Ivy". I still didn't know what shipping was but I immediately shipped those too. I was upset that Harley didn't stay with Poison Ivy. And yes decades later I cried when they went canon.

I also had an equal crush on Cristian Slater and Samantha Mathis. But I knew it was socially acceptable for me to only talk about the crush on one of them. Meanwhile I'd rent The Thing Called Love (1993) over and over again. Same when Broken Arrow came out.

It wasn't until years later that I'd figure out what I called a crush was typically very different from what my friends meant.

Hackers was another movie where I had a different reaction than most of my friends. I really was confused if I wanted to be Angelina in that movie or date her.

After I came out to my folks Mom said she had suspicion because of my obsession with Angelina and Eliza Dushku. For someone who isn't a fan of cheerleading I rented Bring It On (2000) a lot.

In high school when I started to get hints that maybe I was slightly different than my peers my labels became "strong ally" "open minded" "never say never" and "heteroflexible".

[watching-pictures-move]

Movie Review | Lethal Weapon 3 (Donner, 1992)

I think most people will concede that the first two are the actual good movies and the third and fourth are a significant step down. From this one I remembered only the scene where Riggs and Murtaugh are busted down to traffic cop duty and pull a gun on a jaywalker, whereas from the fourth I remembered the freeway chase, the final fight and the dentist scene. From the sound of it, you'd think I'd be Team Lethal Weapon 4, but I probably like this one a bit better. Both are very much action sitcoms, but this one, barring the first twenty minutes, at least moves forward like a real action movie. It's certainly more formulaic than the first two and lacks the verve of the first two, but after those earlier sections it doesn't straight up stop for shtick the way the fourth one does. And this is pretty superficial, but I prefer the late '80s / early '90s sheen of this one to the late '90s sheen of the fourth.

I do think this suffers from the lack of memorable villain, who I was forgetting as I was watching him onscreen. The scheme here involves armor-piercing bullets and automatic weapons, which lead to totally DOA attempts to weave some social consciousness into the proceedings. Sadly, a movie where the heroes pull a gun on a jaywalker is not equipped to deal with the issue of inner city violence.

Like the Fast & Furious movies, the series has started growing the family of supporting actors. Joe Pesci is in this because he was in the last one and does absolutely nothing to push the proceedings forward. He's not actively annoying, but makes little impact beyond his newly bleached hair and a callback to his best rant from the previous movie. I think Rene Russo holds here own as the new addition and plays her character credibly when such considerations were of decreasing importance in the series. Of course Ebert liked the scar scene.

All that being said, Richard Donner continues to nail the set pieces, even if the ones here don't stick in the memory like others in the series, and it's always fun to hang out with Murtaugh and Riggs. I can't imagine watching this by itself, and only put this on today because I rewatched the first two and this was about to leave Netflix, but it manages to hit the spot.

[world-cinema-research]

Hard Boiled Historical Docs By Michael Bump

Hard Boiled (1992) 

The first image is the movie post from Hard Boiled which was released in 1992. I can tell without seeing the film that there is going to be lots of shooting action involved. The second link is from a scene in the film. It shows one of the shootouts. The loudness and intensity are something I believe Woo was famous for putting in his films. Hard Boiled was released in 1992 and the first historical event that occurred that year was that Bill Clinton was elected President. The second historical event that occurred that year was that the Cold War was officially declared over.  

Hard Boiled - Teahouse Shootout 

[theactioneer]

Lethal Weapon 3 (Richard Donner, 1992)

[lboogie1906]

Anthony Johnson (February 1, 1966 – September 6, 2021), sometimes credited as A. J. Johnson, was an actor and comedian. He was known for his role as "Ezal" on Friday. Born in Compton, his father Eddie Smith was a stuntman and a co-founder of the Black Stuntmen's Association. He credited his father for helping him enter the film industry, by getting him to work in film productions. He had accredited the comedian Robin Harris for helping him earlier on in his career as a stand-up comedian and giving him another chance even when he was jeered for his bad performance. He began acting in his early twenties. In 1990, he landed a starring role as E.Z.E. in House Party, after which he started doing stand-up in bars in Los Angeles. He appeared in Lethal Weapon 3 as a drug dealer and in Menace II Society. His biggest role was in the 1995 comedy Friday, as Ezal, a crackhead and thief. He appeared in Panther, The Players Club, B*A*P*S, I Got the Hook-Up, Def Jam's How to Be a Player and Repos, and in rap videos: in Dr. Dre's "Dre Day" (1992), he played Sleazy-E, a parody of Eazy-E, and he appeared again as Sleazy-E in the video for Eazy-E's "Real Muthaphuckkin G's" (1993), this time being assaulted. He married Lexis Jones Mason. He had three daughters. #africanhistory365 #africanexcellence https://www.instagram.com/p/CoILsCELkLa/?igshid=NGJjMDIxMWI=

[kickerofelves]

Barton Lidicé Beneš, Untitled Museum, 1999, mixed-media assemblage, 48 X 47 X 2 3/4".

Barton Lidicé Beneš’s artistic practice was among the most incisive to address HIV/AIDS at the end of the twentieth century. On display here are five works from his “Lethal Weapons” series, 1992–97, refashioned objects behind wired safety glass containing Beneš’s HIV-positive blood. Blood was and continues to be a central source of the stigma surrounding the transmission of HIV. The sculptures present Beneš’s own, in vessels such as a perfume bottle (Lethal Weapons: Essence, 1994), a children’s airplane with a syringe as its cockpit (Lethal Weapons: Flying Missile, 1996), and a water gun with blow darts attached to its muzzle (Lethal Weapons: Silencer, 1993). These works at once animate and expose the hysteria around HIV-positive blood, with Beneš’s wry juxtaposition of cosmetics and toys with medical and artillery paraphernalia, simultaneously provoking and making light of the insinuated threat of this bodily substance.

The exhibition also marks the first time that examples of Beneš’s remarkable “Museum” works are on display in New York City. For this series, Beneš amassed hundreds of small-scale trinkets touched by notorious circumstances and gridded them into obsessive cabinets of curiosity. The works stand as time capsules of the fascinations and fetishes of contemporary society. The most moving of these pieces is Reliquarium, 1999, which contains a range of objects that reflect on the material culture of the AIDS crisis: pink tape from AIDS Coalition To Unleash Power (ACT UP) actions, cotton used to wipe fluid from Beneš’s partner’s nose before his death, a condom signed by John Waters in Provincetown, and a box full of a variety of pills labeled “AIDS medication,” among many other items of interest. Drawing so heavily upon physical evidence for artistic purpose allows Beneš’s work to speak to both the personal effects and the widespread ramifications of AIDS. As the long-awaited large-scale group exhibition “ART AIDS AMERICA” opens this month at the Tacoma Museum of Art, Beneš’s work is notably absent from the checklist; this exhibition provides a corrective.

- Alex Fialho (via)

“Unfinished Painting” — Keith Haring

This painting was left intentionally incomplete. Haring began it when he was dying due to complications from AIDS, and knew he didn’t have much time left. The piece represents the incomplete lives of him and many others, lost to AIDS during the crisis.

“AIDS Memorial Quilt” — Multiple

This quilt is over 50 tons heavy, and one of, if not the, largest pieces of community folk art. Many people who died of AIDS did not receive funerals, due to social stigma and many funeral homes refusing to handle the deceased’s remains, so this was one of the only ways their lives could be celebrated. Each panel was created recognition of someone who died due to AIDS, typically by that person’s loved ones.

“Untitled” — Felix Gonzalez-Torres

This pile of candy weighs the same amount as an average adult man. Visitors are encouraged to take some of the candy. As they do so, the pile of candy weighs less and less. This is a commentary on how AIDS deteriorates the body of those who have it, as Gonzalez-Torres’ partner, Ross Laycock, had died due to AIDS-related complications that same year.

The SF Gay Men's Chorus

This photo was taken in 1993. The men in white are the surviving original members. Every man in black is standing in for an original member who lost their lives to AIDS.

“Electric Fan (Feel it Motherfuckers); Only Unclaimed Item from the Stephen Earabino Estate, 1997” — John Boskovich

After the death of his lover, Stephen Earabino, from AIDS, Boskovich discovered that his family had completely cleared his room, including Boskovich’s own possessions, save for this fan. An entire person, existence and relationship had been erased, just like so many lives during the AIDS crisis. Boskovich encased the fan in Plexiglass, but added cutouts so that its air may be felt by the viewer, almost like an exhalation. In a sense, restoring Earabino’s breath.

“Blue” — Derek Jarman

This was Jarman’s final feature film, released four months before his death from AIDS-related complications. These complications had left him visually impaired, able to only see in shades of blue. This film consists of a single shot of a saturated blue color, as the soundtrack to the film described Jarman’s life through narration, intercut with the adventures of Blue, a humanization of the color blue. The film's final moments consist of a set of repeated names: “John. Daniel. Howard. Graham. Terry. Paul". These are the names of former lovers and friends of Jarman who had died due to AIDS.

“Untitled” (Perfect Lovers) — Felix Gonzalez-Torres

Created by the same man who created the previous untitled piece, this piece was also inspired by his lover’s deterioration and death due to AIDS. This piece consists of two perfectly alike clocks. Over the course of time, one of the clocks will fall out of sync with the other.

In a letter written to his lover about the piece, before his lover’s passing, Gonzalez-Tourres wrote, “Don't be afraid of the clocks, they are our time, the time has been so generous to us. We imprinted time with the sweet taste of victory. We conquered fate by meeting at a certain time in a certain space. We are a product of the time, therefore we give back credit were it is due: time. We are synchronized, now forever. I love you.”

Please feel free to reblog with more additions

[spockvarietyhour]

Lethal Weapon 3 (1992)