When a multimillionaire man's son is kidnapped, he cooperates with the police at first but then turns the tables on the kidnappers when he uses the ransom money as a reward for the capture of the kidnappers.
With personal crises and age weighing in on them, LAPD officers Riggs and Murtaugh must contend with deadly Chinese triads that are trying to free their former leaders out of prison and onto American soil.
Porter is bad, but his neighbours are worse. Street-wise and tough, an ex-marine, he is betrayed by a one-time partner, and shot in the back by his junkie wife. He survives and returns, looking to recover his share from the robbery of an Asian crime gang. The money has passed into the hands of "the Outfit", a slick gangster organisation that runs the city. He has to make his way through a world populated by heroin dealers, prostitutes, sado-masochists, gunmen and crooked cops, a place where torture is a way of life. His only friend is a former employer, a prostitute, and her loyalty is in question, given she now works for the Outfit. He makes good early progress, but then falls into the hands of Fairfax, the crime boss.Written by
Ed Pfeifer is the actors name Porter steals the wallet and ID off of at the beginning of the movie. He has a birth date on his license of 1940. If this movie took place at present time that would make him 59 years old. He was actually born in 1962 which would make him 37 at the time of the films release. See more »
The position of the fold in the picture of Rosie and Porter changes during the movie. See more »
GSW: that's what the hospitals call it: gunshot wound. Doctor has to report it to the police. That makes it hard for guys in my line to get what I call, quality health care.
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Director Brian Helgeland's cut was significantly changed by producer/star Mel Gibson before release and was 15 minutes shorter than the final version. Here are some of the differences to Gibson's highly publicized reshoot version of the film that was released into the theaters.
No voiceover of Porter
The opening shot of Porter in the doctor's office is not in Helgeland's cut. The film begins with Porter on the bridge returning to the city. Brian's cut doesn't suggest the double-cross until we see the flashback.
A more harsh exchange when Porter visits Rosie (Maria Bello) for the first time.
Odds and ends with Val Resnick (Gregg Henry) throughout the film. Includes a curbside threat to the David Paymer character and a funny scene calling Pearl (Lucy Liu) on the phone.
A small exchange between Porter and the Asian gang.
When Val breaks in and beats up Rosie, Porter the dog gets shots in the head and remains dead. In Mel's cut, the dog lives.
The two versions of the film begin to change greatly when Porter confronts Fairfax (James Coburn). The dialog is different and the outcome of the scene is changed.
Bronson the Outfit boss is played by Sally Kellerman rather than Kris Kristoffersen. She's never seen in the film, instead interacting with Porter over speakerphones. When Porter begins to kill her associates, the boss almost immediately gives in to Porter's demands. In Mel's cut, the boss was a bigger character and provided a bigger climax. All the boss's son and torture scenes are not in Brian's cut of the movie.
The climax of the film takes place on a mass transit platform. Porter arranges to pick up his cut of the money, but the boss dispatches hitmen to stop him. He gets the money, but is shot in the chest. Stumbling out of the station, he drops the bag and a homeless man picks it up. Porter refuses to put up a fight and begins to die. Rosie finds him and slaps him back to life. Porter suggests a doctor he knows can patch him up. The final shot is of the two driving out of town.
What can I say. This movie is the one to watch when you are angry with someone. Through Mel Gibson, you can experience your anger and frustration and get that vicarious revenge.
Gibson's character just wanted what was due; nothing more or less. He methodically went up the line to get it. He was clever and ruthless. In the end...well, I won't tell you that. I have to say that I got the best of all those who wronged me through Porter.
With the possible exception of Braveheart, this is Gibson's best. He makes Richard Stark's book come to life on the big screen in a way that it is a pleasure to watch again and again. And, hey, it has Maria Bello, and that gives it an additional star.
Besides, it's cheap therapy.
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