Crocodile Dundee in Los Angeles (also known as Crocodile Dundee III) is a 2001 action comedy film directed by Simon Wincer and starring Paul Hogan. It is the sequel to Crocodile Dundee II (1988) and the third and final film of the Crocodile Dundee film series. Hogan and Linda Kozlowski reprise their roles as Michael "Crocodile" Dundee and Sue Charlton, respectively. The film was shot on location in Los Angeles and in Queensland. Actor Paul Hogan reported that the inspiration for the storyline came during a tour of Litomyšl, Czech Republic in 1993. It was released on April 18, 2001 in the United States. It grossed $39.4 million worldwide and received negative reviews from critics who called it an unnecessary sequel. Plot Michael "Crocodile" Dundee is living in the Australian outback with Sue Charlton and their young son Mikey. Crocodile hunting has been made illegal, and Mick is reduced to wrestling crocodiles for the entertainment of tourists. He has a rival in the business, another outback survivalist named Jacko. When an opportunity arises for Sue to become the Los Angeles bureau chief of a newspaper owned by her father, Mick and his family cross the Pacific to California. In the United States, both Mick and his son have encounters with the locals, causing cross-cultural mishaps. Mick becomes an undercover amateur sleuth, helping to probe the mysterious death of his wife's predecessor at the newspaper, while Mikey attends a local school, where he quickly impresses his classmates and teacher with his outback survival skills. Because the case takes up so much of their time, Mick and Sue eventually call in Jacko to babysit their son; immediately, Jacko and Mikey's teacher become interested in each other. It is revealed that the dead reporter had been investigating a film studio, which is about to make a sequel to the action film Lethal Agent, despite the title's commercial failure. Mick becomes suspicious when several paintings from Southern Europe are brought onto the set; although at first he suspects drug smuggling, the pictures themselves are revealed to be missing art from a museum in former Yugoslavia, thought lost in the recent civil wars. They are to appear in the film as mere props, to be publicly 'destroyed' in a scene in which they are set on fire, at which point they will have been exchanged for copies. Attempting to secure one of the paintings as