(upbeat music) - Welcome to Rise Smile Films, the film review podcast that mixes cinema with fine spirits. Journey with us as we encounter new, old, and strange films with the occasional dabble into sports and music. Proceed with caution as these podcasts feature spoilers and some mature language. This is Matt and this is Jesse. - Today on TAP we have Beverly Hills Cop, starting Eddie Murphy, Judge Reinhold, John Ashton, Lisa Ilebacher, Ronnie Cox, and Steven Berkoff. Story by Danilo Bach and Daniel Petry Jr. Screenplay by Daniel Petry Jr. and directed by Martin Brest. Welcome back to Rise Smile Films, it's time to start a new film review cast because it's the middle of summer, the heat is indeed on. And we're gonna dive right into a genre we've talked about before, but haven't really got to spend a whole lot of time with and that's the buddy cop film. So starting here in '84 with Beverly Hills Cop and then we're gonna work our way through and tackle arguably the one that put it on the map. And then another film that's one of my personal favorites that you've seen portions of, but it's gonna offer us a different perspective and kind of doing a play on the whole buddy cop thing. But we're starting in '84, Beverly Hills Cop, Eddie Murphy, the height of his powers. I know we're gonna talk a lot about him today, but I wanna come to you first summer of, actually this is a December release, December, 1984. So Christmas time, was this a theater release for you? Was this a rental HBO? Like how did you come to this film? - No, this was a theatrical release for me, myself and my buddy snuck in the way that we used to do. I think we went in maybe an afternoon on a Tuesday during Christmas break or something where we had some time off. And we snuck in to see it and enjoyed the heck out of it. Part of the nostalgia around this film for me and a lot of these R-rated '80s films was the ninja effect of hiding around the corner until the ticket taker was distracted or had to go to the bathroom and then running by 'cause they were pretty smart in those days and what they would do is they'd put all the PG and PG-13 to the left side and everything that wasn't to the right. - I gotta share a quick story 'cause I've played that game many times before and me and my buddy Josh went to go see Rob Zombie's first Halloween. I didn't wanna go by myself so he was game to go see it with me and he forgot his idea at home and I don't know, they were really strict at this particular theater. So I got in and I was like, you gotta buy tickets so he bought tickets for Balls of Fury that Ping Kong movie with Christopher Walken and I was like, when the guy got his back and the ticket taker, the theater was right behind the guy and just walked past him and I don't know what happened but he walked too fast, the guy caught him, came into the theater, grabbed him and kicked him out of the theater. So I had to sit and watch Rob Zombie's "H1" by myself which was an experience I'll say for another day but yeah, that's what you did what you had to do to go see the movies that everyone is talking about, right? - Yeah, yeah. - And that was fun. A lot of it depended on the theater and who's taking the tickets. If it was a young kid taking the tickets or selling them to you 'cause a lot of times they were the same person in the middle of the day on a Tuesday. - Sure. - You know, you just kind of wage your odds but the trick on it was if you tried to buy an R-rated film ticket and they said no and then you had to default to we're gonna buy tickets for Balls of Fury and Sneak In then you kind of put yourself on blast and your ninja abilities really were tested. So, you know, it's even funnier though is even in the early days of the woman that I married like when we were just dating as a boyfriend-girlfriend - Yeah. - We were a couple that, I mean, no worries. I mean, no responsibilities, young really 20s. - Yeah. - Man, it was not uncommon for us to go watch a movie and then as we're walking down say, okay, that looks pretty good, that looks pretty good. And then when the movie ended. - Pop in. - Yeah, we'd hang out in the bathroom for a minute until everything cleared out and then meet in the movie. - There you go, yeah. - Take two for one. - That sounds great. - Matter of fact, we did that with the exorcist on one showing. I forget we did comedy and the exorcist at one time and some re-release and, you know, it was an interesting afternoon. - Nice, that's fun though, isn't it? - It is, yeah, it's, you know, assigned seating has kind of taken the piss out of that 'cause you can't just go jump into a theater 'cause you're sitting in someone's seat. So, it's kind of a lost art, so. - Well, to those days. - Yeah, to those days. - And to these days 'cause we just hosted a brand new and laid on us. - Yeah, new one. This is dry fly, straight bourbon 101 whiskey bottled from Washington. Never had this one before. Have a few notes here. We should, on the nose, be smelling the likes of like vanilla, oak, possibly some peaches and cream. - I don't know about. - Peaches and cream smell like. I get the vanilla there. - Peaches and cream would be more creamy, like, and it would probably be more vanilla, right? - I have an anecdotal creaming to talk about in a minute. That's good. That's nice. - It's good. It's peppery on the palate. - Weather, right? You like to leather? - Yeah, I get a little bit of leather in there. Yeah, that's not bad. For 101 proof of which is, you know, pushing it a little bit, yeah, not a bad drink. - Yeah, let's feel like the higher that proof goes, the hotter it gets. And that's got a little bit of kick there, but it's smooth enough. You know, it's different to me, though, is go again with me and check that middle portion. I think that middle portion on the tongue is where it really punches you in the face with the spice. - Ooh, yeah. And then it's, it's like a five going in to a seven and then down eventually to like a three and then away. - Yeah. - Interesting. - It's like a wave. - It is. - It's like a wave. - It's a spice wave. Speaking of cream and releases. - Okay. - Did we talk about ice cream last week? - I don't think, no, no, you brought me ice cream. - Okay, so update everybody. This is not the Baskin Robbins plug for the segment of the show, but I do have to plug this flavor that has had some controversy around it as crazy as that might sound. Flavors beach day. And it essentially is a vanilla base with some chocolate turtles in there, chocolate caramel infused hurdles, a graham cracker ribbon and just mounds of other goodness in there. It's back. And if you all have not tried this, there's nothing to cap off your summer more than that particular flavor. And if you do the Sunday, it's caramel and waffle cones and just every bit of unimaginable goodness that you've never consumed. However, the trick around it is it's as popular as it is and wildly popular according to the ice cream baristas that I've been speaking with. And by the way, it was my first job. Did you know that? The Baskin Robbins, my very first job. - That's awesome. - They're selling it in bulk like crazy. It is moving, flying off the shelves. And there's a whole Reddit community to this with a story about what happened 'cause it's been gone for a year. - You're getting lost in the Baskin Robbins subreddit. - Which is so stupid. Have way better things to do with my time. But I think some bourbon and beach day could just be-- - Oh yeah. - Oh man, Jesse. - Let's go well with that. - I think so too. - Beach day everybody, get on it. - I saw that at a Baskin Robbins subreddit and they were selling it in courts. - Yeah. - Get it. - You can go get it, yeah, and have it at home. Yeah, there you go. - 'Cause when it's gone and they said probably at the end of August, which gets into a whole interesting premise and each Baskin Robbins franchise to a certain degree is allowed to roll out whatever flavors they want for as long as they want with some consideration. So a lot of the dealerships. - Ice cream dealerships that I've talked to you. - Have bought tons and tons and tons of beach day to carry them past this month because they know how well it sells even into the winter months. What's up, man? Beach day, huh? - Yeah, they got to unload beach day and get ready for pumpkin patch. - Exactly, going right into beach day to the caramel pumpkin period in our lives. - You know what was my favorite Baskin Robbins flavor growing up was bubble gum. I just, I love the pink bubble gum and then just chew in like terrible gum while eating ice cream and I would just swallow it all. - Ooh, wow. I'm sure your digestive tract loves that. - There you go. What about the red meat sitting in my gut too? - Yeah. - We'll talk about that later as well, but let's get started with our flight question. (upbeat music) (upbeat music) (upbeat music) - Are you asked? - No. - Yes, you first asked me in my eagles guy. The answer is yes, but are they in my top 15 bands? Probably not. They're in the top 25. There's a lot of eagle songs I really like. I really love "On the Border." I like a lot of early eagle stuff. I like Don Henley. I think what's cool about Henley is that he's a drummer that can sing, which is super rare. I mean, I'm looking at like maybe Taylor Hawkins and maybe a few others. - Still Collins. - Yeah. That's a rare gift. And then Glenn Fry here, RIP. - Yeah. - Yeah, I don't know. I'm not big into a lot of his solo stuff, but Matt, this song, this is a top 20 song of all time for me. - Wow. - Really? - I love that he does on. I love this song. - Interesting. I never would have pegged you for that. - You know what I mean? I think it's that sax at the beginning. - Yeah, we love that. - Doo, doo, doo, doo, doo, doo, doo, doo, doo. There's just something, it's kind of pulse. It's kind of beat. It reminds me of summertime. Like this is a roll down your windows and just blast it on your stereo type of song. I dig this. And I love that the film starts out with this. It's a perfect tone setter. - So I got to give you something then. I've been dying to ask you this. I knew this was going to come up. How could it not? And I'm sure we're going to talk about Axle F2 or Harold Foltemier, but. - Some vanity. - Yeah. Maybe even the point your sisters might show up this week. - In my mind, now as part of the Eagles, this is not applicable there. But Glenn Fry solo to me is the poor man's very, very impoverished Chantaté poor man's version of Huey Lewis. - Sure. - Are you a Huey Lewis guy? - Oh yeah, yeah. - Right. Because this is hard of rock and roll remastered. - This could be a Huey Lewis song, right? - Yeah. - It's like they missed out on like, being on the soundtrack for Bill Scott. - How about that? I'm not a Huey Lewis made the show today over Beverly Hills Cott. I'm not a Glenn Fry guy, I think that sounds fine. But I find his solo stuff to be pretty forgettable, but truthfully, other than maybe some Joe Walsh stuff, I don't like any of the Eagles solo. And Don Henley and the Boys of Summer, man, that fucking song comes on. And I cannot turn it fast enough. Dirty Laundry. - Yeah. - Those are pretty overplayed radio staples too, right? I mean, those get a lot of like, ♪ Bam, bam, bam, bam ♪ ♪ Doo, doo, doo, doo ♪ - I do like that song too. It's not in the top 20, but it's somewhere in the ethers over there. But man, the heat is, I dig it. It's just, it's a great way to start this film, great way to start this flight question. Yeah. So talking about Eddie Murphy, arguably, I mean, one of the biggest actors of the 1980s. And I was gonna come to you here. Is he the best 10-year SNL member film career? I mean, we could make an argument for... - Well, maybe. - Dan Aykroyd, Will Ferrell, I'll throw Bill Murray in there too. Man, Eddie Murphy's gonna give him a good run for their money. And also in his vocal work too. I'm talking like Shrek, Mulan. I mean, this guy's been around and has done... - My girl likes to party all the time. - Yeah, his own career, his own stand-up career. - No, I think so. - We can make that case. - I think you can. - But the fun part about the '80s is he wasn't the only one. So we're probably obviously not picking Eddie Murphy for our top three, but this week, our top three favorite comedic actors from the 1980s. - 3-3-2-2-1-1. Checking in at number three for me, Rest in Peace, Mr. John Candy. I think John Candy suffered in a lot of regards from terrible agency representation. About the time John Candy was really about to go. And I mean, really about to go. He made a tragic decision filmography-wise with Uncle Buck. And I really do think that set him back. But for all the Uncle Bucks that are in there, there's plenty of moments and planes and trains and other really, really good candy vehicles that took what was a genius comedic presence from us way, way, way too early. John Candy for me at number three. - Yeah, I'm not gonna say much more 'cause he's gonna show up again later on my list. Yeah, I got an interesting perspective into Mr. Candy. And I think the only time we've talked about him on the podcast was his little side bit in Home Alone, which he kills. He's so good in that movie, improvising all his lines. I think he did for, what, 50 bucks? - Yep. - Was his salary? - Yep. - Number three for me, Rick Moranis, also coming from Second City Television in Canada. They're just a lovable nerd. I mean, and just the kind of the roles that he was and doctored into, whether that's Strange Brew, Lewis Tully and Ghostbusters, Head Office, Little Shop of Horse, Space Balls, Ghostbusters II, Honey I Shrunk the Kids, Parenthood. I mean, Moranis was around, but like the guy has an interesting comedic timing where it's almost pseudo pathetic, but like lovable at the same time. I don't know how to describe it, but I love the guy. I almost should grin that he kind of stepped away from acting 'cause I think of all the great comedies from the 2000s with Judd Apatow and like those types of films that he could have popped in just to do a cameo that he would have been great in, but Streets of Fire, Rick Moran, Brewster's Millions. He's my number three. - Really interesting career there and where he showed up and then just decided to be done Revenge of the Nerds too, if I'm not mistaken. - No, that's Carradine. - Oh yeah, Robert Carradine, my bad. - But in the '90s, I mean, you carry into like little giants, which is a football movie, I adore. - Outer Space. - Yeah, just so many great little roles. - Yeah, huge fan of Rick Moranis here. - Good, love that one. Number two for me, the former and once upon a time second drummer we'll mention on the show today, Mr. Chevy Chase, who originally supposedly had to run with Steely Dan as a drummer, though. - Oh, that's a true story, I guess. - Yeah, and modern problems seems like old times under the rainbow, vacation, Fletch, European vacation, spies like us, foul play, three amigos, foul play, and then later on-- - Christmas vacation, I think is 89, yeah. - Chevy Chase, it's good run, I love him. I hear he's impossible to work with on set, but I'm wondering about that too, because I've heard the same thing about Mandy Patankin, and I've heard that about Lea Schreiber, and I've heard that about, oh, come on, John Voigt, not, this is not a political podcast by any means, but there does seem to be a like-mindedness shared between all of those actors, whatever. I don't care, it was never on set with him, his movies are really funny, especially those like modern problems to me is absolutely-- - Yeah, genius. - This is the thing that kills me about Chevy, is his rep, and there are stories to corroborate, whereas like you might hear stuff about Patankin, or some of these, I don't know, I've never, I don't know, but there's just so much written about, and a lot of it has come from when he was on community, that TV show, and just what asshole he was, and that kind of, that kind of sours me on Chevy Chase, but everything you just listed, I can get behind, and you didn't even list my favorite one, and they're one of my favorite comedies of all time. - Under the rainbow? - Catty Chad. - Oh, I thought I said that first off. - Oh, did you? - If I did, though, yeah, like 1980, welcome to it. - Yeah, he was just in a hulking six foot, six, six foot seven monster of a human being. You know, the funny thing about him for me is, of all those movies, I think he's most widely recognized for Fletch. I don't love Fletch. - When I think Chevy Chase, I actually think the vacation stuff first, especially, I really like Vegas vacation. - Yeah, they're all good. - Christmas around Christmas time, and then vacation, well, a European's kind of a hot mess, but I don't really think Fletch, right? I don't go there first. - I bet you that's his highest grossing film, though, 'cause I know the wheels behind that, and then they did Fletch lives, and that was terrible, but I mean, there's great lines, you know, my car just hit a water buffalo kind of bar years, or, you know, like all that baller you tell, all that. - I wonder if there was a Chevy Chase invite to be the Ernie Hudson part in Ghostbusters, and he just said, "No, no, thank you," or maybe the rep was in, and there's like, "We're not gonna work with that guy anymore." - If the rep is true, then there's no way that Acroid and Remus said, "We're putting Murray "and Chase on this set together. "We'll literally kill ourselves." - And I love Ghostbusters is a top 20 movie for me. 15, I love it, go listen to that episode, it's a frickin' banger. - And no secret to Ernie Hudson, he's fantastic as Winston Zetamour, but if it's Chase, Murray, Acroid, and Remus, oh my gosh. - Oh my gosh. - My God, that's a comedy dream team. - Dream team. - So, who knows? Good, two for you. My number two for me, The King of Dead Pan, in two of some of my favorite, funniest movies. You can piggyback with me on this one, Leslie Nielsen. Which is interesting about Leslie Nielsen, because also in 1980, which is Airplane, one of the great movies of all time, of all time. He's doing prom night as well, which is really an odd turn for him, which, so I don't know which one came out first, or which one he made first, but once he did Airplane, his career was like, "This is it now. "I'm Mr. Dead Pan. "Surely you can't be serious." - Nice be able, nice beaver. - Yeah, yeah. (laughs) - There's a fantastic cut shot in Airplane, where the plane's like doing the nose dive, and everyone on the cabin's freaking out, and they cut to him, 'cause he's a doctor, and he's got a woman in gynecological stirrups, and he's like, "What the hell's going on over there?" No, I'm like, "What is happening?" - Yeah, I would love to do Airplane one day, because he's not the only, everyone is on their A-game. Robert Stagg, freaking Lloyd Bridges, everyone, Peter Graves, Kremo Doldra, everyone understood the assignment on that movie, was to read the lines as seriously as possible, and just let the comedy happen on the audience's side. One of my favorites. And then he had a great career going into the 90s, and he showed up in the latter Scary Movie 3 and 4 as the president, and he just killed me, yeah. Just funny, and only him and Charlie Sheen, I think really understood how to seriously deliver that Zucker Brothers deadpan comedy. - Oh, yeah. - Be serious and say it with absolute authenticity. - Yeah, so my number one, there he is, from his quick stint as an umpire in Naked Gun to another movie that will come up later for me in this podcast, I love Leslie Nielsen. I love the deadpan. I think that's hard to pull off, because deadpan leans into, I think, a more, I don't mean this snobbly, but intelligent version of comedy, because it takes a minute to think about what has been said and then process the emotion that is lacking with what it said, and then finding yourself in that space where you ask, is he serious? And in a lot of Leslie Nielsen stuff, he did play it down right serious. From what I've heard, a lovely man, God, the finest quaff of silver hair that's ever been imbued on anybody's head. - He was silver from-- - When he came out of the womb? - I know. - Came out silver. - Him and Steve Martin, right? - Yeah, right, yeah. I love Leslie Nielsen, and that's my number one, a very different style of comedy in the 1980s. I don't know anybody else to play. Murray a little bit. - Yeah. - But, Liz Nielsen, like nobody else. - Fantastic. Repossessed, yeah, the Naked Gun spy heart, wrongfully accused, I have a funny, wrongfully accused story on spy heart. I was in the band in high school and we would take these long trips to competitions, and they'd get us a bus that could play VHS tapes in my buddy, Carson, who we gotta have on this show one of these days. - That would be awesome. - Former student. - Yeah, he brought wrongfully accused, and he's playing it. And me and him are the only ones watching this movie, and he's dying, dying, laughing. And we get off to go have dinner at some place, and he's like, Jesse, you gotta tell them to turn off this movie. It's too funny. - It's too funny. (laughing) - He just couldn't take the laughter anymore. He brought the movie. I mean, it's just-- - Awesome. - Yeah, it's just, you either get it or you don't, but I think we get it. - I think we do. - My number one, your number three, Mr. John Candy. And what's really great about Candy's comedy is it's really lovable. It dabbles into kind of like chubby guy humor, which goes all the way back to like Fatty Arbuckle, and W.C. Fields, and Curly from the Three Stooges, and there's always the foil, right? He represents that kind of quotient in comedy. Buddy Hackett. But there's something really lovable about John Candy. There's something you can really rally behind with him, and I'm just gonna rattle off the movies that he was in in the 1980s. - Go. - Blues Brothers, Stripes, Heavy Metal. He was a voice in Heavy Metal. - Love that film. - Vacation one, going berserk, splash, Brewster's Million, Summer Rental, Volunteers, aren't, I freaking loved Armand, Armand dangerous. - Yeah. - Little Shop of Horse, woo, woo, woo, woo, woo. Spaceballs, planes, trains, and automobiles. She's having a baby, The Great Outdoors. Who's Harry Crumb? I love that movie too, Uncle Book. And then you tap it off in '90 with Home Alone. - Yeah. - Gone way too soon. The guy was working in it. - Working hard, and maybe that's what, you know, ultimately killed him as drugs and... - Was he a druggie? - A little bit, yeah. I mean, like, not like heroin, but like, I think like cocaine and, you know, that type of thing, but him and Farley, huh? - If you're working hard, like, yeah, I see why, right? And that's not a good answer to like, that's why you need to do drugs, but when you're jumping from movie to movie like that, but something really, and planes trains to me is I think the silver lining and all of that. Like, is it Del Griffin, this is his character's name? - Mm-hmm. - Does polka band on the planet? Come on, man. - Del Griffin, the twist turn. - Home Alone, that's on the lines of trains. - The twist turn at the end of that movie when you kind of realize why he's kind of chuckling along by himself is breaks my heart every time. - Yeah. - He's great in that, he plays off Steve Martin really well in that film. He's my number one and someone I wish was still around, right? I mean, still making movies. So there's three shocking at least absences from our list. Now we couldn't do Murphy because that's not allowed on the podcast for us. - I think he might be on my list, yeah. - Yeah, he might make mine too. - Mm-hmm. - No, and I'm curious about thumbs up or thumbs down for me on these, I rattle these off. - Yeah. - Maybe not the right decade, but maybe Eugene Levy, not enough of a filmography in the 80s. - 80s into the 90s 'cause then he gets into the-- - Christopher Guest, right. - Christopher Guest, okay. - And American Pie. - So we're agreement there. - Yeah. - Billy Crystal doesn't make my list. I don't think Billy Crystal's all that. - Yeah. - And I hate Harry Metcelli. - Really? - I hate it. - Oh, God, I love it. - I hate it. - Why hate me, Brian? - I hate her. - Okay. - She is my, um, Clevon. - Okay. - Hater. - I love that movie. - Ooh, okay. - I love that movie. - I love that movie. - Doesn't make your list though. - But no, I'm kind of in the middle of Crystal. And then it's more '90s, right? City Slickers. His, you know, voice work with, like, you know, the Pixar stuff. Bill Murray. - Okay, he would not make my list. - No. - He's in the middle for me too 'cause, you know, Ghostbusters does a lot of heavy lifting as does Catty Shack, but like, I'm not a big Scrooge guy. - I hate what about Bob. - Yeah. - Yeah. - I'm not a Bill Murray guy. - Yeah. - Okay, I have two more and I'll save the big one for last. - Okay. - Not the big one. Martin Short doesn't do it for me. - Yeah. - Yeah, no. - This is the base. I'm not good at it. We know we're in like Matt's not good space comedy, but it's Martin Short. - Yeah, I like Martin Short, but I just, he's not as great as some of these guys that I rattled off. - No, no, no. And then the final one, the Titan that seems to be missing and you've brought-- - Steve Martin. - Yeah, Steve Martin. - Yeah. - Any consideration there. - A little bit. - Oh, a little bit. I don't know, maybe three outside looking in. And, you know, it goes back to the jerk. I mean, then you have Parenthood in there, three Amigos. I mean, Martin's playing, it's what you might call a, he's in a little shop of horse too. - She brought up two interesting films that I wanted to talk about with Martin for just a minute if you don't mind. The jerk to me is a really interesting film and we should do it one day because I think the first half of that movie is awesome and the second half of that film is not, literally when Bernadette Peters leaves after the crying bathtub scene, the rest of that movie blows. And then I think the three Amigos and that does have my Chevy Chase in there, my number two. I also don't like that movie. I find it really boring and does not work. Maybe it needs to revisitation, but yeah, no Steve Martin. - Yeah, and Roxanne, the man with two brains. I mean, dead men don't wear plaid. - Yeah, well-storied career. What about from you, I'll shoot you a couple of, Gene Wilder, is he more 70s to you? - No, strong consideration for this list for me. The woman in red was one of my favorite movies and he plays that doofus, curly-headed. He's everything to me that people think Woody Allen is, that Gene Wilder did better. I'm not a Woody Allen guy, as you know, but I think Gene Wilder was Woody Allen, a poor man's Woody Allen, but better. So yeah, Gene Wilder got some consideration for me. - Someone who almost made my list, Rodney Dangerfield, good school, but back to Caddy Shack, right? Pardon me, it was like, Dangerfield just does the same thing in every movie, but I like the thing he does, so. What about Robin Williams? Is that more '90s for you? - It's more '90s for me, and honestly, Robin Williams' best work for me was in the drama categories versus the comedy categories. What dreams may come? Certainly, Matt Damon, Ben Affleck, come on down. - Good hunting. - Jesus Christ, good hunting. Even one-hour photo. A titan of creativity. However, really difficult to watch on any interview that he gave with, say, Carson or Letterman or any of those guys, 'cause he was just like the ping-pong ball bouncing back and forth a million miles an hour. One more for you, and then we'll get into the show. - I have two more. - Okay. - I'll give you one more, and you give me two more. - Dan Aykroyd? - No. - Tom Hanks? - Yes. - Yeah, for sure. - I thought about him for a while, which he took the opposite Robin Williams kind of approach, which was, he was doing dramatic work in the '80s, but Hanks was bachelor party splash. - Well, you missed another John Candy film. - Yeah. - Yeah. - Turner and who, I mean, just comedy kind of-- - The man with one red shoe. - And then it seems once Hanks did Philadelphia, like that was it. - It changed. - Yeah, and he did Woody and Toy Story, but-- - It's different. - Everything was very serious, saving private Ryan. - Even Boz and Buddy's, Jesse. - Yeah, yeah, he was like comedy guy. And the money pit? - The money pit. - Well, don't show it long, yeah. - The money pit. I wish Hank's would do just a stupid comedy again. I would love to see that, but I don't think he'll ever do it. - Last one, and it might be that there's not enough of a filmography to qualify, but Richard Pryor. - Hmm, what about it? - Maybe I've never been the biggest fan of his, and maybe that's just limited exposure. Car wash. - Stripes. - Stripes, yeah. - There's another film he did with "Tunewillard." - "Chicken and--" - "Chicken and--" - "Chicken and--" - "Yes, overstreak," and there's another one. I'll look at a pyramid. - Yeah. - Yeah. - That's a good talent. A lot of it coming out of Saturday Night Live, actually. And it's like, when they jump ship, what I was interested in Eddie Murphy was he was on SNL from '80 to '84. So in that span, he, well, on the show, did 48 hours, this film, and trading places. And then it was after this film, he was like, "Oh, I'm a movie star now." (laughing) He's like, "I'm doing movies full time." - Wait 'til I do "Vampire in Brooklyn." - Yeah, maybe I need to go back to SNL. But hey, great list. - Great list, fun. I love those guys, I missed some of them, wish they would be movies, which some of them are still alive. But let's talk about Eddie Murphy for the next hour, and some odd minutes with our review breakdown of Beverly Hills Cop. - I don't know. I'll just sit in front of him, all right? Just sit down. - No problem, don't sit in front of him. - Tell him, "What's up, fella, what's going on?" Shit, I've been there too long. Talk to me. - Just give us some energy. - No, I ain't got no more minutes. Yeah, check this out, I want you to see something. You can't get no cleaning in here, look at it. He's a very popular cigarette with the children. You know what this is in here? You know what this is? It's a federal tax stand. You can't beat that. You can't get no cleaning in there. Talk to me, tell me something. Don't you keep me going to business yourself, if this is such a great fucking deal? - I would, man, but I ain't from Detroit, you know, and I don't know nobody in town that can handle the job this big. But y'all supposed to get all the connections, you know? But tell me something, shit, I'm a business man. I'ma sit down, do what you want 'em to do. - You're right, ain't easy to get rid of this shit. - I know, but see, I'm a business man, you know? This is my thing. I'm doing business here. - What would the trust, let's get the fuck out of here? - There you go, that's what I'm talking about. - Good job, kid, all right. - Thank you very much. I appreciate it. Cousin. - No dash yet, this look like two grand in me, this look like $5,000. - You know what? You don't want this business video off. I told my people it's supposed to be $5,000 here, and look at this shit. They stiffed us. - No, they stiffed you, 'cause I want my money, man. - Son of a bitch, you know, you can't carry anybody today, but look, I'll tell you what, let's not fucking hassle about it now. Take the two fucking grand, and on the next score, I promise I'll make it up to you. - And look, man, don't jerk me off, all right? Man, jerk somebody else off, this is bullshit, I need $5,000, not $2,000 thing, man, don't do this to me. It'll be unreasonable. You're not dealing with Johnny Bananas, come on. - No, I have no idea what Johnny Bananas is, man, my my kids know, look, I say it's slow for you, look, I need $5,000, $5,000, read my lips, $5,000 is what I need. This is bullshit here. - I can't do nothing with that. - No, you want to be a fucking asshole, you can take the whole load and smoke them yourself in the pocket. - I don't smoke, look at strength. - She's like an answer to you. - I smoke, kingfath, kingfath, kingfath. - I can't make 'em twice the night. - Excellent, so Beverly Hills Cop, as we've mentioned already, starts out with Glenfries as the heat is on, we got to mention Martin Brest real quickly because this film, Midnight Run, which could be a buddy, a cop in the movie, I love Charles Groden, by the way. And a few other things, but then, man, the nail in the coffin, this Martin Brest directed Gee Lee with Ben Affleck and Jennifer Lopez. - How wild, right? What a weird choice. - Yeah, I don't know how he ended up at that movie. - Me either. - Have you ever seen that? - Yes. - Bad? - Bad. - Oh, bad. - I mean, we're in that space where, you know, we're getting like, Daredevil and some really bad Ben Affleck, Jersey girl, some Kevin Smith, Ben Affleck sort of trash. - Yeah, he's in a bad spot. - Look, man, there's way worse, but that's a bad film. That's a bad film. - Yeah, I was curious to see that, but just pop up on his filmography, but yeah, we start with the heat is on and we get a pretty cool montage of Detroit, Michigan and it's really apt to have the song, which is kind of detailing like, it's so freaking hot out here in the summer and Detroit is sweltering in the summer and it looks poor and impoverished and working class, right? - Mm-hmm. - And I think, and there's one shot. I don't know if you saw this. I had to rewind it three times. There's a little boy, they're like playing on like a stoop. This kid has milk coming out of his nose. - Oh, no, I didn't see that. - Yeah, I'm gonna queue it up for you because it's worth seeing, but good montage working class, it's really setting up that Alex Foley is a working class hero as fast mouth and foul mouth as he's gonna be, he's one of us, right? - Yeah, and Axel Foley has a hard time following directions from the lieutenant, but you can see in this movie, and this is gonna be kind of my overall theme for this, that he's pretty talented at what he does. Now, let's talk about Eddie Murphy for just a minute, because I think you're gonna see in this film two of Eddie Murphy's hyper excellent traits, and oh yeah, you're not kidding, there it is, you should pull it up on your phone, yep, you're right, it's coming out, wow, how about that? - What a weird shot. - Can you think of anything worse to drink in the summer than milk? - Maybe that's all they got. - Well, anyway, yeah, okay. What I like about Murphy is I think he's very aware of the space that he's good in, and he's going to excel when he gets to be in that space, and I've got a couple other things kind of about that later, 'cause I have a few questions for you, but it's a terrific opening, and that's what I wanna see Eddie Murphy doing, is being Mr. Robinson and Gumby, or later on in the film, when-- - I'm good, I'm gonna be damaged. - Mr. White from the other SNL skit, oh, go ahead and take the paper. - Oh, when he went undercover? - There's no black guys around, go ahead and take that newspaper, yeah, he was so good on that show. - And he was-- - Yeah, yep, James Brown. - Hot. - Exactly. - The hot tub. - Yeah. - Hot in the hot tub. - Yeah. - Mm-hmm. - I think it's a great opening, 'cause you're right. It showcases his talents, and to me, Alex Foley is the go-to, like, sting operator. Yeah, Axel Foley, yeah, is, uh, he is gonna be able to play off of people's situations and words, just fast mouth, where you're just almost start believing the bullshit he's saying, right? - Yeah, and Detroit, don't you kind of feel like that's how you would have to do it in Detroit? - Yeah. - The fast intent. - Super streety, right? - Yeah, exactly. And we see that a couple times in the movie, too, where he just go and plants himself in a situation. I'm gonna talk my way through this to get some information, but I'm gonna be really good at it, and I'm gonna talk faster than the other people that way they start believing what I'm saying. So here, I mean, they're doing some sort of cigarette-sting drug operation here, and it all just goes tits up, 'cause the cops show up, they don't know he's undercover. And I think we get what is arguably the most exciting scene in the entire movie, which we'll have to talk about that a little bit later, 'cause I think that's interesting, too. This semi-truck, cigarette car chase through the streets of Detroit to the neutron danced by the pointer sisters. Matt, gotta tell you another song. I don't know how I feel about the song. I love how it's used in this scene here. It's cr... and he's swinging from the doors, he's falling in the back, and this car is just careening into everything in its sight, and it's real, it's practical. It looks great. I mean, this is a great setup for a film that isn't gonna have a ton of action sequences, which I don't know if it's necessarily a problem, 'cause this is the Murphy vehicle, but this is kind of a great way to start the movie. I don't disagree with any of that, and it does bring up a perplexing discussion that I'm sure I'll have over the next course of the hour or so. Okay. Look, if you're gonna open with this kind of sting that devolves into a car chase, but one hell of a car chase is he's hanging under the cargo net out of the back of this rig that's selling these cigarettes, or he's black, you know, black marketing these cigarettes. Whether that's him or not, it doesn't matter. I doubt that's him doing those stunts, 'cause he's getting flung around like a rag doll. Probably not, yeah. But it does make one lean into the idea, like, holy smokes, we're gonna have, and in 1984, this would be very appropriate, hyper funny, or trying to be hyper funny, super action vehicle, and that was slaying with crowds among that time, which is basically the reason we're doing this entire cast, right, is because of all of that. The question remains, though, if your opening is the highest bit of action, or the largest amount of action you're gonna see per screen time by a lot, 'cause there frankly isn't any more the rest of the film, other than maybe one little shootout and a few punches here and there. Yeah, we're not watching command over here. Right. Then, is that a failure in the writing, and then are you forced to lean into what this ultimately is, which is comedy? We need an Eddie Murphy vehicle. Yeah. Exactly. That's exactly. It's a Murphy show piece, it becomes less of an action movie, and it's a comedy. It's watching him going from situation to situation, disarm it, do a character, do a bit, do a voice, and funny you say that because this movie does feel, if you break it down into, like, let's say, three or four parts, a bit like each one of the parts could be situational comedy. Sure. Sitcom? Really? Yeah. And I'll play a few of those as we go along. So I'm going to post something to you as I went as we go through this. Is this a horribly written screenplay? Because I know what my take on that is right now. And I'll see if you can talk me out about it, I'm not going to, it's not going to change my rating. It's still the same. My answer to that is, it's trash. Yeah. There's a lot of white on those pages for Eddie Murphy to be Eddie Murphy, and you need to carry the words because this story is kind of terrible. The plot is thin. Thin? Yeah. You are kind and a gentleman. It's like a scholar. It's like a slice of prosciutto. But in being there with the, and I think that was my biggest fantasy with Beverly Hills cop thinking it was this big action vehicle, whatever, thinking it was lethal weapon or some sort of thing. But no, it's really this, it's showpiece to let Eddie Murphy get into interesting situations and disarm them with his mouth. But those situations are really good is the thing, right? It really carries the movie across to the finish line. And when we get to the numbers at the end of the thing, like why this film was so successful, if it's not this exciting pulse pounding, we're not watching speed here, people. We're watching, you know, someone go into art galleries and hotel lobbies and country club, uh, uh, matredes and just kind of like do a thing. But it's exciting and it's funny and I can't believe we're doing two comedies back to back because I'll tell you this is a comedy versus an action movie. And he did. Oh, there's no question about it. And I remember very little of part two, which might mean more into the action, but then you got Tony Scott in the director's chair, so that changes the game a bit. But this might be just like, we got a actor who's got a really great strength. Let's let him do his thing and let's see what happens and to them, they made bank on that decision. There's the biggest film of 1984 of ladies and gentlemen. This film was a huge hit. I'm going to save the numbers till later because they're going to freaking blow everyone's minds and they still blow my mind to this day, but this is just a on big screen establishment to watch Eddie Murphy do his thing. My question for you is so the screen plays bad. Okay, the plot's thin like daily meat. Not a lot we can do there, but what about the character stuff? Do you think do you think we're doing good stuff with the characters, like doing, you know, the rule of three, setting them up, giving them good motivation? How do you feel about them at least? I think it's fantastic. And one of the things that's probably not going to be spoken about in loss film in this film is the importance of George, come on Matt, of Judge Reinhold. He is without even having to try about as whitewashed as you can get. I mean, his name is Judge Reinhold, right? And Rosewood. I mean, exactly, it might as well be my name is Alabaster Simpson, I mean, or Alabaster McGillicuddy. I mean, we are whitewashed. And so what you get is in this film a really important dynamic and story, the fish out of water. So Beverly Hills meets Cop from the streets where we are by the book here in uptight, stick up my ass whitewashed Beverly Hills. There's tons of conflict just in that setting. The character stuff is ready for this right now, and you may change my mind. The only thing that makes this movie succeed for me, that's it. That's it. I think you're going to be rather surprised when I get to my rating on this film. I would watch it again, and I'll save it for later, but that's the only thing that makes this movie work. But that's not a fault of the film. If you're bringing Eddie Murphy in to do this movie, you want to give Eddie Murphy enough space to not marvel franchise him into cookie cutter oblivion. And by that, I mean, here's our fucking formula. If you're going to wake one of our movies, Josh Trank, you better follow this or you will never work again versus we see how creative you are. Do your thing. I'm going to give you a lot of space and the plot in this is basically nothing or kind of a sort of revenge murder plot, kind of, you're derelict, but he's going to get done in and you're going to have to figure out who did it, if anyone even really cares about any of that. But along the way, Loose drug element, yeah, very loose. I'm leaving a lot of look at this page, look at the script, Mr. Murphy, there's Eddie Murphy is Eddie Murphy here, go for a page and a half. And we think we can sell that and they were right. Yeah, exactly. And here's the thing though, if we shove more action, this film and it becomes a huge action vehicle, is it as successful? Because I don't know if that's Murphy's strength. Murphy's strength is the comedy. Yeah, he's looks good shooting a gun, but like if we're having him do that for most of the film, does the film work as well as there? I don't know. But here's the other thing too. If you're a fan of Eddie Murphy, you buy a ticket in 84 and you park your button to see for this film, are you walking away disappointed? I don't think you are. I think as a fan of that guy in his style of comedy, you're getting what you get. Okay, I agree with that. And at that time in my life, I was maybe a B fan of Eddie Murphy. He was not A-list for me. I don't know if I had any A-list comedy guys at that point. I'm 11. Yeah. I hadn't even seen Delirious yet. That was the same guy that I saw this film with. We snuck that movie out of the same rental place that's come up several times on the show where I told you he had his access to his parents account so we could get whatever the hell we wanted. My initial, and I remember it, my initial reaction on that film was walking out and my buddy was just fawning over how happy and great and wonderful this experience was. And I just kind of thought to myself, "Yeah, it was fine. It was fine." Okay. Because I'm going to come to you another comparison that I think flies in the face of the action. Let's take this film and the lack of and compare it in the same relative time frame two, three years down the road with a heavier action vehicle, which is the Golden Child. And that's a terrible movie. But even the action in that is terrible. And what happens in that film, and I went back and recently re-watched that not too long, because once upon a time in my life, I loved that film. The Golden Child, yeah. What? It's terrible, because you know what ends up happening? Is you lose Murphy as this patriarchal protective action hero? So maybe you just answered the question that I asked a second ago, which is if you do too much of the fantastical and the over the top, you lose Murphy. You do. And you need him front and center doing his thing. I don't know. I mean, it took some adjustment for me. It's just what's nice about the film and that it's light on plot is that you don't have to invest too much. And like, oh, my God, who's that guy? What the fricker are they importing and coffee beans and whatever? And just sit down and just enjoy it. Let me let this guy just do it, tear down these import security guards. Let me just watch that for a second, because when I was when I sat in here to do the sound bits and stuff, I was like, I was having a hard time remembering some scenes of the movie. And I'm like, but wait a minute. I was like, the story is very, very basic. Let's get to our inciting incident because that's going to get us to Beverly Hills. So after this failed robbery, everyone recognized, oh, Foley, it's you. You just you screwed up again, Foley. We see Paul Reiser here, right? This is Jeffrey, and I think he comes back through all the films, kind of some like just like, you know, desk worker, but then he gets his ass chewed out by his captain, just absolutely chewed out because he got his ass chewed out by the chief, right? And just intensity just saying like, what are you doing? Not things by the book. This my ass is on the line because of you. And it's really interesting because that captain is going to really mirror a lot of Ronnie Cox later, right? I love Ronnie Cox and just I need more of that guy too, right? He's like, I care very little about this job. I try a really shivvy, Chevy Nova. I'm just going to go back to my little derelict apartment and I'm done for the day. And here's his buddy, Michael, I almost called him Michael, but let me get the name right. And you know, Mike, Mikey Tandino, this buddy, this kind of ex con, just got out of jail. And what it sounds like is him and Foley back in the day running jobs on the street. So through dialogue, through some kind of interesting kind of turn of phrase, we learned that Foley's not a, you know, you know, a great guy in the past, right? I mean, he had to work up to setting himself right to be a police officer. No, I'm not going to go steal a car with you and get into shit with you. Like, I got to follow the law now. So he was a bad dude back in the day, right? I'm going to play the clip here. And this, this really kind of spoke out to me for some strange reason. We'll talk about it. I can't create anything. I get a great idea. Let's steal a car. Are you serious? I'm a fucking police officer. Because I can steal cars and no one else knows what it's like every time you stole the car, man. I'm a fucking Cadillac. I'm driving on the expressway of the car, and I just fucking made it. I also remember, you had to go to jail behind that shit, too. I was like, well, I was in jail, I was in a state school. Well, state school is jail when you're 15 years old. And that's jail, man. That's like, that's like they can't create the jail. How come you didn't tell on me when you got caught, man? How come you tell me we're together? I don't know. I don't know. I don't know. I don't know. Because I love you, man. I don't know. I don't know. So, him and his buddy are going out playing pool, having drinks. This guy's getting drunk saying, hey, let's go steal a car. I can't do that. I'm a cop. I'm this. I'm that. And this reminds me of that time, this, and like, hey, how come you never? I should have ended up getting arrested just like you, and like, the only reason you didn't get arrested is because I'm your friend. Yeah. And I chose not to rat you out. And there's a really interesting, like, six-second pause there where they just really let the silence sit other than the music, right? And Murphy really kind of takes that in, in my opinion, and is just like, holy shit, like, the reason I'm not, I have somewhat of an opportunity over you is because you didn't rat me out, loyalty, right? That's going to go a long way for Axle Murphy and, or Axle Murphy, Axle Foley, right? Yeah. And going to kind of the inciting incident, which is going to set him on his path, which when his friend's going to bite the bullet here, executed, I'm going to make sure that his killer see, see justice, right? What do you think of all that? I mean, in a comedy, in an action film, it's kind of a deep moment between two people. That's just, it's kind of, and it's kind of throw away, right? It's not like we're like really focusing on it, but I really locked into that of like, he really cares about his buddy, right? Thank you for putting this sound up, because I actually watched this bit three different times in the film, because I was so troubled by what was going on. First of all, after you have the opening that we have, and then the cop chewing, or captain chewing, Foley's ass out, and then this, you are setting a tone with this movie that literally is dead after about five more minutes, and then the rest of this movie has no more resemblance to this at all. The other thing too that I found to be awkwardly troubling, and I don't mean in a good way, and again, in the sound again, it was reinforced, in that space where we are trying to develop some character. This is my ex-con buddy who is tempting me to do wrong again, and not only can I not because of my job, but I also have to be weary of what that would mean for him. He just got out of the who's gown, I don't want him to go back. Say what you want about this. I don't think any part of what Murphy says there delivers even close to what the response to be, and this set of tone for me for the rest of the film, I fucking hate that laugh. I hate it. I hate it. It is so annoying, and it is distracting as the plunging necklines in American hustle. I hate it. It's terrible characterization, and it's funny because I'm going to tell you, we've already started a little bit of axle if we spent like 10 minutes just playing around with it, and that laugh is gone. Thank God. I hate it. And this scene, the gravity of what is being proposed there from ex-con to still current buddy is far more heavy than this film wants to deal with for the rest of the movie, although it's going to be, I've got to see who murdered my buddy and why. The inconsistencies are becoming really prevalent to me, and the weight that Murphy is going to have to carry to get me across the finish line is, and he is comedic genius, and I will never say that he is not, is almost too much for even the strongest comedic Sherpa to pull up this slope of Everest. I'm drowning right now. Yeah, we're on opposite paths right here, because that really works for me, and especially coming from Murphy, who I know is doing jokes and bra and delirious, and I know the comedy that this guy does, to me that's just so different than anything he's really been, that's not Shrek and Donkey, right? No. This is him taking a moment to be serious to really listen to his friend among why he didn't rat him out on the street to Detroit. It's a big moment, otherwise he'd be another derelict, just adding to the list. No disagreement from me there. Yeah. Just to do something about it. The reason the laugh works for me is, it's the character, it's, he's making and building a character, and if that's part of the character, and it's been established, I'm willing to go with it. Okay. And I don't know, it's just, I've had maybe less Murphy exposure than you have, because a lot of what I've seen him in is animated voice work, and high intensity here, and it took me a while to come to the live-action stuff with him, and Golden Child, and Beverly Hills, and Vampire and Brooklyn, Wes Cravens. Stinguished gentlemen. Boomerang. Coming to America. Yeah, it took me a long time to come to that, but yeah, here, I don't know what it is about this character that just feels real to me, and in a summer '84 where you have paranormal exterminators, Indiana Jones, fucking Gremlins, he just feels, I know why this film was successful, because he feels like one of us, he feels like just a neighbor, or your guy working down the street, and the fact that they don't give him a souped-up Lamborghini or some sort of fancy, they don't dress him better, there's not like a dressing scene in this movie, which a movie today would have like, "Oh, we got to get you in the latest, like, Rodeo Drive attire," right? No, he's wearing the same junky-ass, gray shirt, the entire movie, and the denim, so it just feels like it's, he just planted from Detroit, and planting him in Beverly Hills for a couple of weeks. I don't disagree with any of that. Yeah, no, sure. I'm with you on everybody. And you know what else he was, he was refreshing at that time, even for as hard as I've been on this film so far, in 1984, this was a refreshing voice from the other things, I mean, we'd already seen Andy, Gremlins, for its own thing, was also really refreshing compared to what the other lay of the land was traditionally. That is a monster year, 1984, monster year, you got Ghostbusters, you got Gremlins, you got what, Temple of Doom? And this is going to be the winner, it is a monster year, so I can say whatever I want to say here, and analyze this film critically, which clearly is not the way to approach Beverly Hills Co. Sure, no, yeah. But I love the still the winner, period. Period. And I love your perspective particularly coming from that year, seeing it, and kind of seeing the reaction to it, and at the end of the day, it's a specked idea, right? Yeah, I love that too. This thing coming from anything, and the fact that this broke through all of that other stuff, the Amblin Entertainment, and just everything that was coming out in '84. I think it's just mind-blowing, and it speaks to Murphy's star power, I mean, people were into this, it wasn't just you, it was like America was like, I can't get enough of this guy. And I think that was the takeaway at the end of the day when, it was like, there's not a lot of action in that movie, why are people going again and again to see Beverly Hills Copp, they're going to see Murphy, speaking about star power. Yeah, movie star, capital M, capital S, movie star, and we just, today, there's not a lot of that. Everything's built on spectacle and a built-in audience, and in '84 you're able to do that with Murphy's tenure on SNL, and his comedic schtick, and turn that into the biggest movie of '84, that's impressive, that's really cool. Look, and he carries it, and it's comedy too, it's not science fiction, we're not Star Wars, it's not The Exorcist, it's not Indiana Jones, it's not E.T., '83, the film of '83 was Return of the Jedi. This is a cop movie of him going to different locations, I mean. This would never happen in today's box office climate, I mean, our biggest film this year is Inside Out 2, which is an animated film, which is a sequel on a well-established Pixar studio, right? Dude Murphy's doing it, just going like to an art dealership, a hotel lobby, a country club, and I'm going to be the biggest movie of the year. And to that, yeah, no it is, it's awesome, and to that, it's going to be a decade before we see anything that even is close to this, and it won't be until Jim Carrey in '94 with Ace Ventura. He takes the torch and runs with it where we get really stupid story, but here is a lot of space Jim Carrey, run with it, and you get Beverly Hills Cop reimagined with the white guy doing Ace Ventura. I love that movie. I do too. I do too. And you want to talk about '94 being the year of Carrey, because you have that movie, The Mask, and Dumb and Dumber. Yeah. Monster Year. He's taken whatever Murphy is dropping off in Beverly Hills Cop III, and he's the new guy, right? So if 10 years are between what is a box office slam dunk, and they're not able to replicate it, and you know that Hollywood is a copycat industry, and they can't find another person to carry it the way Murphy can, then that speaks to how powerful his presence was on screen, because you know they're trying to remake Marilyn as whatever all of the 15 maybe Van Doren and so on that they knocked off in the 50s. They can't do it. So Murphy is a unicorn for a decade. And they're going to monetize that, and unfortunately, and to some degree, not always. I'm not sure some of the choices that he made script wise were the best vampire in Brooklyn is awful. I have my issues with coming to America and boomerang, although they're okay. I think they're both exhaustive by the time the film was over, and especially coming to America is fucking exhaustive by the time that film is done. But what about Bo Fanger? Steve Martin, and I believe Martin Shorten that too, right? Yeah, different kind of dorky Eddie Murphy. It's fine. Then you have the Nettie Professor and all that. I'm out. Goodbye. I'm out. When he starts playing every character, you're like, where's Flubber? You know, let's go. And then the Haunted Mansion and a really weird falloff for Eddie Murphy for a bunch of- Well, he's just started making trash, right? Exactly. Fire that agent. His saving grace was donkey and trick. His only grace. Yeah. Which, you know what, you know, if you're saving graces an animated film that makes $400 million, and you just have to go into a sound booth, that's a nice kick. But I mean, think about this. Okay. So let's take it a little bit more, right? So if we take Jim Carrey, you could argue his filmography takes a similar path. I mean, we're in fucking Sonic movies now. And the number 23. And you might then go a little bit further, let's jump ahead another decade to Will Ferrell. And you get the same kind of precipitous falloff after about Talladega Knights. So I think there's only so much run you can get out of the play that these characters provide, because it's impossible to play that gregarious or bombastic character every time you show up on the screen. That's not a repeat of what you've seen. And that was the biggest criticism against Jim Carrey. He's just playing the same thing until he did Cable Guy. And people were like, what the fuck is this dark thing? And then Truman Show, right? And then boom, bye. So it's a tough spot to be an end to Eddie Murphy's credit. Look, he's going to carry that torch longer than either of the other two that I just mentioned. But there's a range. Let me ask you a question, then we'll get to Beverly Hills. Who's the guy today? Guy or Gal? I mean, who's Kevin Hart, the rock? Maybe the rock? I would probably say him, yeah, because he's action comedy guy, trying to be funny. But I mean, he stepped out and did black Adam and really did himself no favors there either. Exactly. So yeah, I can't get a solid, who's the comedic force right now? Whose name can you put on? I mean, maybe we could consider for a period in there. Maybe you could argue Will Smith maybe for a little while. But I don't know what name you can put on a movie poster in the genre of comedy right now that guarantees you an opening weekend winner. I don't. I don't know. The rock proved otherwise. I feel like Seth Rogen carried that for a little bit too. Appetow stuff. Okay, I'll give you that. It's a little Steve Carell maybe, but yeah, I can't tell you the fact that I can't tell you like it's not obvious. I mean, tells you the thing that there's not like the person churning it out right now. No. Yeah. No. Is it, I don't know, I don't know, comedy is all over the place. I mean, Chris Pratt, I hope not. I mean, is that the closest thing we have? No, because that's not comedy. That's, you know, Guardians and Jurassic. Those are science fiction. I mean, I'm looking for the names we mentioned in our flight question, like, who are those guys? Well, even the lesser characters like Vince Vaughn, that's done now. Yeah. And I would say Jason Bateman, but that seems a little past as well. Yeah, that might be an argument. Look, as not Pete Davidson, it's like, I can't give you a name. I can't give you a name. So Jonah Hill there for a minute. He's in the Apatow camp, too. Okay. So I guess what we're recognizing then is despite whatever the movie is, is we are acknowledging the genius of how hard that was because we can't find a lot of players to carry that mantle that Murphy did better than any of the other ones that we have just mentioned. Is that fair? Yeah. So if we have this pantheon of John Cena, if we have this pantheon of comedic carriers and it's Carrie and Murphy and the Rock and all those people just mentioned, there's still a very clear winner. Yeah. He had something and maybe it's the every man. Maybe it's his bravery to address the race issue. I don't know what it is, but he had a winning element about him that I think takes what is an atrocious story and a horrible screenplay and make the movie infinitely rewatchable. There it is. Mm-hmm. Let's go to Beverly Hills. Yeah. He shows up. We get Patty LaBelle. Set it up. You know, is it stepping up or set it up? I think it's stepping up. I had this soundtrack on cassette. Did you know that? It's kind of a good soundtrack. Yeah. I mean, there's some bangers in here that you're whistling well after the credits roll I'm going to get that song right for you here because of stir it up, stir it up, yeah. Harold Peltmer, Peltmer, who's also going to have it. Okay. So what's bigger Matt? Is axle F do do do do do do do? Is that bigger than. Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah. But the resurgence of Top Gun Maverick gave Peltmer a little bit more place. There you go. He shows up in Beverly Hills in his broken down Chevy Nova. I mean, you want to talk about Chantatte. He's giving him looks, he's he's and to the Peltmer Bell song. It's just really infectious how like like, I'm going to have fun here. This is fish out of water. Here's a character that belongs in inner city Detroit, broken down derelict poverty town. And now he's going to live it up in Hollywood, right? There's something fun about that. And so he shows up at a Beverly Hills hotel. How's he going to afford this on his policeman's salary? Well, he's going to talk his way into it. He's Michael, he's going to interview Michael Jackson for some for Rolling Stone. And if you don't give him a room, so help me God, he talks his way into getting a room, which at the end of the film, I still don't know how we paid for all that. Maybe someone else paid for it. He's so good at talking his way out of stuff. What do you think of all that? I mean, we're in 1980s, we're bringing it all in. The music, Murphy, Michael Jackson, I mean, looking back at this from a 20, 24 lens 30 years later. Matt, what were the 80s like? 40 years later? Jesus. They sound wild. I mean, just like the titans of pop culture were huge. There's just nothing like that today. I mean, maybe Taylor Swift is the Michael Jackson equivalent of today's music industry. But Jesus really. It's nothing. Yeah. Yeah. But what was it like in the 80s? I mean, you're going from Threwler to Beverly Hills Cop to Back to the Future. You lucky bastard. Yes. Star power was everywhere. Yeah. Everywhere. Every summer, you're guaranteed like a hit movie or a hit album or MTV Nickelodeon. You're getting it from every angle. I just envy your generation so much. I think a lot of it has to do with lack of saturation because all of those things that you mentioned are done without a really important piece and our entertainment lexicon today, the internet. Yeah. So you have to go find it. Exactly. Yeah. So the labor that you would put in to get yourself to the theater or to go buy the second copy of Threwler because the first cassette you had had popped and the tape didn't work anymore or oh my god, they're going to make an appearance on Carson tonight and I won't see them because I can just go to YouTube like there was a scarcity, a perceived scarcity to them. That's the word. That made them seem harder to get than they were especially when you are mass marketing them the way they had been. It's a genius marketing ploy. So are you watching Michael Jackson do the moonwalk at the VMAs? Can't. Oh my god. Yeah. The VMAs are terrible even back then everyone knew they were terrible or I can't wait for Eddie Murphy to be the opening act of the VMAs and do the opening monologue. That was a thing too and it wasn't even very good. Yeah. Yes, they were everywhere and nowhere all at the same time and there you have it. And there was I think a more rounded out in film, music, books and video games. I think video games have leg up big time today. But back in those four spaces, I think there was a larger swatch of variety available than there is today. Everything now is either dystopic in the video game world or superhero driven in the video game world. And I can even tell you novel wise, what's working except YA is seems to be still the driving force. You know, young adult. Well, I think, you know, the scarcity gets you up and moving and you've got to go seek it out. I mean, today you can do all that from your couch. And that extends to politics too, couch politics. I mean, like determining this, this, that and the other back then. I mean, I mean, you had to go to Sam goody. I got to go to the bookstore. I got to go to the movie there. I got to go to the video store. I got to go find these things if I want them. We're lucky enough if we have cable where I can see some of these things after the fact. I mean, you can see how some of these things really caught on. We're just like, yeah, I'm into this and I'm going to embrace it. Whereas today it's just too easy. It's an Instagram reel. It's a YouTube video. It's something that you can just digest and forget about literally five seconds later. Think about the flash around African American culture in the entertainment industry in that period. Michael Jackson, the Los Angeles Lakers versus the Showtime Lakers versus the Boston Celtics, right? That was literally race on in sports. The Whitey, Whitey's. Dennis Johnson's looked around and like, man, can we get another couple of brothers out here? Because it's just me. ML car. Yeah. So it's in sports. It's in music. It's in movies. It's in everything. Yeah. Yeah, it's everywhere. And to the power of African American entertainment, they killed it for that fucking decade, killed it. They still do now. I'm not saying they didn't before, but people began recognizing or maybe it was marketed better. As great as the Lakers were, and they were great, much of what the Lakers did was marketing because it was a show. The flashy. It was literally the show. Michael Jackson wasn't flashy. Yeah. Are you kidding me? Yeah. Watch thriller. Yeah. Eddie Murphy's not flashy. The hell he's not. Yeah. So in a cocaine infused, flashy, driven society, it's the perfect mix of what the 80s, and you know, not my favorite decade entertainment wise, but I'm telling you, it's it was still really good. It just worked, man. It's pretty great. It's just. This year is pretty great. 84 is pretty great. 84 is great. 82 is great. 83 is great. 88. 88. Yeah. We'll pass on 88. 89 brings it back in. Yeah. We close it out pretty good. Yeah. 80 is pretty good. I mean, it's just I look back at all the movies that came out and I could just, you know, if I accumulated my top 25, the majority of them were films from the 1980s, Raiders of the Lost Ark, the Empire Strikes Back, Evil Dead, One and Two, Ghostbusters, Fast Times of Ridgemont High, Die Hard, Lethal Weapon, Yeah, Lethal Weapon, Predator, Determinator, Police Academy, Karate Kid, Keep Going. Yeah. I could go all day. It's just a phenomenal decade for entertainment and then I'm not even the music. I mean, you didn't even touch any horror. Yeah. Yeah. Yeah. And then brought, you have the shining and then you get into music rock. Yes. The advent of MTV, it's just, there's something so cool happened in that decade. And then the 90s is, the 90s is what it is. And you have a very cool fondness for the 90s too that I can really appreciate, which is that grunge, Gen X mentality, indie filmmaker, Nirvana, Pearl Jam, which is awesome. And just the stuff, I will, it's just, I don't compute. I mean, it's just, it's just, it's 9/11 post 9/11 monstrosity, right? Yeah, man. Like I've said many times on Mike and off, Mike, you were born. I was, I was born in 77 and I get to go through all of that and I get to see Batman 89 when I'm 13. Yeah. I mean, right. Yeah. It's perfect, right? We didn't even talk about Batman. Yeah. And that meaning of the summer of Batman, which, to this, to this 35 years on June 21st, that movie is 35 years old, right? I'm getting old, Jesse. I am too, Matt. Yeah. But let's get to this. Look at this. It's some more Murphy. Hi. How you got doing today? Hi. I'm fine. My name is Sales, and how can I help you? Yeah, I'm looking for Miss Jenny Summers, start busy today, maybe you give me your name. My name's Axel Foley. And what it's for, Tainin? I didn't understand what you said. Tainin, what it's meaning, regarding. Oh, what's it regarding? I'm an old acquaintance of hers. Donnae? One moment. Donnae, run into any summers that Mr. Ahmed Foley is here to see. Axel Foley. Axel. Ahmed? Ah, well. Axel. Foley is here to see her. These are all the Quentz. Donnae, this is the cover of this song. It's the brace that I dog to scrub for the customer. It's not sexy at all. It's not sexy at all. Nah, I feel something to drink, wine, hot oil, espresso. No, I'm fine. Thank you. Don't make it to myself right back there with a little lemon twist. It's good. Try it. No, I'm fine. I see you look at this base. Yeah, I was wondering how much something like this went for? $130,000. Get the fuck out of here. No, I cannot. It's serious because it's very important. Yes. Have you ever saw one of these? Sounded it yesterday? To collect our? Get the fuck out of here. Somebody else has said it myself. Axel Foley, what on earth are you doing here? How you doing? I'm fine. All of a sudden, I'll be right down. Great. Excuse me, sir. Just surge. Bronson Pinchot. Prior to Belki. Bronson Pinchot's playing the character. He's doing a voice. What's he doing here? The last time we talked about him was when we talked about true romance. Oh, right. He's killing it is what he's doing there. Yeah. He's killing it. Yeah. That's a character. And talk about giving Murphy a foil. And you know what I love about that? I love for one of the few times in the movie Eddie Murphy recognizes that in this moment, this character is going to be a little bit bigger than Axel. And so now I need to be cop because I don't have to get over on this dude. I'm going to get over on this dude just by telling him what I need. Yeah. And he lets Pinchot for a moment have the brighter light in that scene. And in so doing, Foley showcases or Murphy showcases Foley's commitment to solving the crime. Like that scene, as much as the earlier one you said didn't work for me, that scene worked. That is my best favorite scene in the movie. Okay. That scene completely works for me. That's pretty cool. Yeah. It's, yeah, disarming him to get to the next thing where we're breadcrumbs to get clues to get to the next thing. He's going to meet an old kind of friend that worked with his friend Mikey and Mikey's dead. Oh shit. Oh, like what's going on while he's working with this guy? What's the guy's name? Which guy? Bronca Pinchot? No, the bad guy's name in this movie is I'm going to pull it up real quick. Victor Maitland. Good name. Yeah. Running this art dealership, which is a front to kind of ship in drugs and they're going to use coffee grounds to mask that with the customs dogs, it's a pretty good little plan, right? I mean, use a high priced art dealership to bring in your supply. And in between that, there's barre bonds kind of being tossed back and forth, which is what led, you know, that guy to Detroit, to Foley, to Beverly Hills. But yeah, I love seeing him go toe to toe with Bronca in here and it's a nice kind of fun banter. And then when he's here with his friend here, it gets serious again, gosh, and what's her name? We're do or Jeanette Jenny. Jenny Summers. Her one movie. Yeah. Her one movie. Axel, what are you doing here? You're still driving that shitty car? Yeah. I'm still driving that Chevy Nova. And I'm like, how you afford a room like this? I don't know. But you know, Axel's a go getter. I mean, he's like, you give me a name, I'm going to go see that name. So he goes to Victor Maitland's office. And what has happened? He gets zest thrown through a window. Yeah. It's like, is he going to get tossed outside? No, through the window, he gets arrested. So, you know, we're leaning into the race thing here of like, oh, well, this black guy's causing disturbance that this white man's establishment here arrest him. Well, he get arrested for throwing out of a window. What's the charge for getting thrown out of a window here? Yeah. And then this is where we meet the rest of the team. And you know, if this is the buddy cop cask, this is the buddy cop. Team, right? So you have John Ashton as sergeant tagger and John, John Drynehold as detective Rosewood. Rosewood. So it's kind of a triumphant of police work here and three very different ways of doing police work. And then we throw Ronnie Cox as a boge mill into the, and he's law and order Ronnie Cox as only I know Ronnie Cox. This is the same as Dick Jones and Robocop Velos Cohegan in total recall. It's the only way I've ever seen this guy play a character which I can absolutely appreciate. Sure. But let's talk about tagger and this thing here because you have one guy who's a seasoned kind of vet by the books, stressed out and a young rook kind of by the books, but a little can be tempted by Mr. Foley here. What do you think of this little team? Well, I mean, we can't not but address the punch that McTaggart throws in Foley's stomach when they get him to the station. That seems like a bit of a mistake. Man, like he's going to beat your ass old white guy. Or here comes IA, right? Or we've got to investigate this now. But what's great about that is Rosewood is so doe-eyed Anjanu that he is easy, easy prey for Foley and that's also where as hard as I was earlier, they show restraint because other than I'm going to send food services down to the car that's been tailing me outside the hotel, he doesn't prey upon Rosewood's naivete. In fact, they make a pretty good, maybe more so in the second film, but they make a pretty good triumvirant of justice because we've got street, we've got old school fire and brimstone and we've got the innocence to maybe see things that the other two might have missed with maybe a more hardened approach and it does create, if nothing else, for lack of a better term, an interesting love triangle, I don't mean it that way, but an interesting love triangle where each one of the three sides presents a completely different take into what justice means. Yeah. And age two, like young, middle and old. Yeah. We have like ads all over the spectrum. I love Judge Reinhold. I mean, this is two years removed from fast times, right? So he's still a young pup here in this role. I'm going to play a clip because it's going to kind of play off all, let me play two clips and then we'll kind of talk about both those scenes. Yes, who are you? I'm Inspector Raffet of United States Customs Service. Has all this stuff passed through customs already? No, this is the bonded area. Well then tell me something. That's a question for me. How can a black man, dressed like me, just march into your warehouse, walk into the bonded area, start poking around without anyone asking me any questions whatsoever? Well, I don't know. Well, thank you. That's the answer I was looking for. Why don't you guys just give me your ID numbers because somebody's going to lose their job behind this. This guy gave me a match for Christ's sake. You gave him a match? Listen, listen to me. I do security checks all over the nation and with the exception of Cleveland, this place has the worst security in the nation. And I suggest you guys call your wives because we're going to be here all night. We're going to check the background of each and every crate in this section starting with this one right here. Wow. You know, it says here that by the time the average American is 50, he's got five pounds of undigested red meat in his bowels. Why are you telling me this? What makes you think I have any interest in that at all? Why are you eating a lot of red meat? Two lines. I probably got a lot of red meat in my bowels. Who does it? Me too. Can I have a match? Yeah. Before this, I mean, he sent them a full course dinner to their cars, takes a banana in their tailpipe, stalls out their car, got a banana in their tailpipe. I love the banter back and forth. Murphy is doing his thing. Yeah. What we saw in the opening scene. Awesome. Disarming the security guards, infiltrating his way into this custom shipping area and playing the character as this, you know, this is the customs agent. It's worse than Cleveland up in here. And then you come from that Reinhold and Ashton here as tagger and cranky, a little too much information from Reinhold, like, who cares how much red meat, like, why are you bringing that up here? Well, you eat a lot of red meat. I love it. It tells you the dynamic. It's not even, I can't even call a father and son. It's like a noise, you know, apprentice and ingenue, right? Yes. And master. Yeah. Yeah. It's all working really good. That scene. This guy can't be matched for Christ's sakes. And moments like that, you're just laughing about the genius because that's not on the page. That is just... I am providing for sure. Yeah. And so in those moments, he's really, really good. And then the straight, the straight man of Reinhold, well, you eat a lot of red meat. He really doesn't want an answer, but yeah, all that is really showcasing the comedic space where these very unique characters insofar as a comedic presentation are able to kind of play it. And they are all equally important. No. Murphy and Foley can carry it by himself. We've seen that. But those other two cops need him being Murphy to really showcase their wares. But in so doing, once they kind of become this little team, I think they make Foley even more funny. Exactly. And then we get this scene here. Hi. Can I get you some? Yes, son. I'm having a great time. Can I have a scotch and soda? And brothers, what do you want? Like light beers for the fellas. True club sodas. Don't crack me up, man. We're just going to do these shit. Billie. Billie. You know, you don't have to be embarrassed if your dick gets hot, but your dick is supposed to get hot. See? That's how I object at this. Taggle's dick is hot, but he won't let you know if it's in the box. The boss dick got to stay limp, right? Yeah, I ain't on duty. So my dick can be hot. Taggle, look. Check that out. That's found on a maintenance warehouse. Billie. Bill. Here, give it his. Really, know something inside a little thing and she's going nuts. Excuse me. Billie. What do you think? Coffee grounds. Yeah. So, you guys don't do nothing about nothing, do you? You just got your badges and your guns and your job, right? Make sure we get the right drinks because if I drink club sodas, throw up. Thank you so much. Thank you very much. Billie. A fun strip club scene. He's having a good time. He's trying to get them to loosen up a bit. Lighten up. Yeah. I need drinking club soda. I'm not a dude. My dick can be hot. I'm not a duty. It's great. He gives him a 20 to put into the thong of the stripper there. Taggle. Rosewood. What are you doing here? They're so wound up. They're so wound up so tightly, which seems like the antithesis of Beverly Hills, which is excess and drugs and stardom. How are these two cops protecting this district so just wound so tightly? I love that. Foley's trying to loosen up a little bit, believe in what I'm telling you that they can't even see through to the clues. I've got coffee grounds. I'm so what? Who gives a shit? Coffee grounds mask the smell of drugs for the drug sniffing dogs, right? He's trying to teach them the street smarts of Axopholi, right? On display here, not only with the ability of coffee grounds and his knowledge of them to cover the scent of drugs, but he seems to be pretty familiar and comfortable in a strip club too, a place that these two guys seem very, very off-put. Oh, yes. Yes. Yeah. This is all working really, really well. And then, yeah, he sees these two guys come in. They're going to probably rob the establishment with shotguns and whatnot, and all three of them take them all out really quickly, right? It's an action bit. Yeah. Decent. Yeah. You get that iconic, like, okay to tag her there. And then another great bit. I wish I had the audio for it, but I have the antithesis of that audio a little bit later. They go to Ronnie Cox, and he's like, "What the hell were you guys doing at a strip club? Can you explain that to me?" And Foley, in perfect, Foley acting fashion, spins a yarn that is perfect to the tee. Saves their necks. Saves their necks. Saves them look like heroes. Puts paints everyone in a great light, and tagred is like, "Oh, it really happens." We went into Foley. We had club sodas. Foley picked it out of the thing, and he just totally ruins it. Yep. And Foley goes like, you know, that was a good thing until you, you know, you ruined it. It was a good story there. And there's, dare I say, a rice smile from Ronnie Cox recognizing the slight comedy from Axle Foley, which is like, "I recognize who you are. You're a big pain in my ass right now, but that was kind of cool what you just did trying to, you know, paint my guys in a good light, because he's going to pay that forward here at the very end of the movie." That's right. So in between all that, you know, we have shenanigans trying to figure out more about Victor Maitland. Another great bit here. I mean, I mean, we've got to showcase Murphy's comedy chops, or? Yes. I'm looking for Victor Maitland. I didn't realize that this is a member's only club. Mm-hmm. But I have to talk to Victor. It's very, very important. Are you sure it's Victor Maitland you want? Oh, yes. Victor Maitland, the gray hair gentleman, very dark skin, Capricorn, Victor. Well, why don't you give me the message, and I'll take it to it. Okay. I guess I can do that. Until Victor that Ramon, the fella he met about a week ago, tell him that Ramon went to the clinic today, and I find that I have a group of simple X10, and I think Victor should go check himself out with his physician to make sure everything is fine before things start falling off on the man. Oh, perhaps you better tell him that. You know, I think that would be best. So do I. What better way to get into the place you can't get into the humiliation. So good. I got to get a little note about this STD that's going to make his dick fall off. Herpy Simplex 10. That's pretty serious. Oh, my gosh. Shit. Yeah, it's good. This one had me on the floor. Like, this was, I thought this was hilarious, and then what's great about is Victor and all his, all the other suits in this place, the, the criminal crime of Beverly Hills, and here comes Jonathan Mike from Breaking Bad, Jonathan Banks comes up here and he's the muscle of Victor Maitland. Dude, fully throws him over the, the, the shrimp table and just makes mince meat out of him. And I love the fearlessness and fully like he's twice now, he's gone face to face with this guy. They can blow his brains out like, like this. Yeah. I'm going to sit to you, and I'm going to find out why did you kill my friend? Why did you execute style? My friend in my apartment building. I love that. I like that about Foley. He's just fearless, fearless can concoct a story, get himself into, in and out of any situation and is willing to go toe to toe with the man. I really like that. And I know I've seen this guy, the guy playing Victor Maitland, he was kind of like a regular Russian staple in 80s movies, right? Yes. What do you think of that scene there? I mean, this is a pretty good little character. I think we're starting to make some hay with the Foley character for me in this film. We're able to present a character who is fearless and pursuing the right thing to do because he's honoring his dead buddies, virtue or loyalty, friendship, coupled with a quick witted improvisational ability to be whatever chameleon he needs to be in that moment. And we've seen it now four or five times, we're way past the rule of three. And that's the strength of this film. That's the backbone of this movie. They give enough of it, especially with the sound that you're putting here to make, I think to satisfy the hardcore Eddie Murphy fan who wants to just see him say funny things and be funny, but it's also that backbone that's threading the needle on what's a really, as you said, skinny thin plot. Exactly. It's working totally. We'll catch up a little bit here. I mean, all this work he's doing is like really shaking down the Beverly Hills Police Department and they're like, you got to get out of here. We're going to ask you out of town. We don't want you intermingling with our investigations. They're already going to shit and, you know, but something's going on here. I'm telling you the truth. This is how it's actually going down. So Ronnie Cox gives his big speech, get out of here. His chief's breathing down his back now too, right? So Judge Reinhold is going to escort Foley out of town, but no, we're going to go check out this factory one time. And if anything goes awry, you stay in the car and it goes to shit. They abduct Jenny, Foley's held a gunpoint and Rosewood for the first time, unclinches his ass and goes in and helps Foley save the day. But now we're on the clock. We have a hostage. We got to stop Maitland. Taggart comes into, and I love that scene too, they're trying to pick the lock on Maitland's mansion. Taggart's like, what the hell are you doing Foley? He's like, yeah, you can shoot me if you want to, and I'm not going to shoot this guy. I care enough about him to not kill the man. And then when he goes to his trunk and gets a shotgun, I'm like, oh, if we're doing this, we're doing this. I'm not going to say it's not commando, because commando is the mansion blow-ups of all mansion blow-ups. The end of commando is fucking awesome, it's so good. This is commando light, it's like a couple of oozies, some barrettas, we're ducking covering behind some marbled staircases, and we're going to get in there, get Jenny, kill Maitland, save the day, right? You got it. Yeah. Is it? I know what you're going to say here. This seems stupid to ask, but I felt this too. This is a pretty underwhelming finale, right? It is, and it made me think, as hard as we've been on Shane Black from time to time, had he had his hands on this just a little bit right here, this feels so Shane Black appropriate to me at the time. We're going to get that later. Literally, we're going to get this later. This is like a middle sequence in the other film. Yeah. So it's very underwhelming. I mean, it's fun to watch him ascend the stairs and sort of hide, take cover behind the pillars. But what I'm used to is it's not the shoot out in the strip club, and it sure as hell not the car chase at the beginning of the film. Yeah. I'm used to, like, Victor Maitland would get on a boat, and we're chasing him through the marina. Where's the boat? Yeah. Through the marina. Yeah. Where's your boat, Jesse? We're blowing up a bridge. Yes. I mean, like, we're just horses, like, after the polo match. Yeah. Yeah. What we're doing here is, I mean, essentially, Foley has, you know, him a gunpoint with Jenny is going to get a bullet too, but she gives him an elbow to the gut and then Foley and Ronnie Cox killed this guy. And that's it. That's it. Made to black, mostly. But what I really like here is, you know, Ronnie Cox has been a bit of a hard-ass, most of this movie. And Matt, one of these days, we have to do, we have to do deliverance on the podcast because the strife of man bonding, you know, you know, you know, the backwoods derelicts that occupy that movie. There's so much to talk about in John Borman's, you know, vacation nightmare. And that's Ronnie Cox's first movie. Wow. Really? Deliverance. Yeah. Oh. I love that. And it's probably due to, he's occupied a lot of genre films that I'm very fond of, right? That I, they have an attachment to this man. With this scene here where he takes a page out of Foley's book, which was, okay, I'll spin you a yarn on the truth. Well, sir, Ms. Jeanette Summers, the manager of Mr. Maitland's Art Gallery, accidentally discovered large quantities of a substance she suspected was cocaine in the Art Gallery's warehouse. She immediately communicated her discovery to Detective Axel Foley of the Detroit Police Force. The detective Foley was at the time cooperating in a joint Beverly Hills Detroit investigation of narcotics trafficking. Detectives Foley and Rosewood responding to Ms. Summers report proceeded to the warehouse where Rosewood did in fact discover approximately 80 kilos of cocaine. Rosewood immediately called for backup and I dispatched our officers to this location. Sergeant Taggart here was the first to arrive at the scene and having probable cause to believe a felony was in progress, Sergeant Taggart joined Rosewood with Detective Foley present only as an observer and proceeded to enter the grounds, and in the course of defending ourselves, we shot several suspects, including Mr. Maitland. You expect me to believe that report? That's the report I'm filing, sir. Sergeant Taggart, why don't you tell me what happened? I've been just like the lieutenant's safe chief. He's won him over, right? Yep. We don't need to tell the truth here, ruin everyone's rep, send someone to jail. We did the right thing. We did the right thing. Got the bad guy. Foley, you were telling the truth. I'm sorry I didn't believe you, but I love that he takes a page. This is totally a Foley moment where he would just spend some sort of bullshit to get him out of a situation, right? What do you think of the finale, the wrap up of Beverly Hills cop? Internally, the conflict between McTaggart and Foley has been palpable the whole film. We start to make a little bit of inroads in the strip club where you got my back and you got my six or whatever he says. At this point, we do see that the power of Foley has been persuasion and he's persuaded not only the tightest screw that ever turned whatever yarn and Shawshank or whatever the hell that line is, but he's won over that guy's boss too. And yeah, we have all sort of succumbed to the power of Foley and in so doing because he is a brilliant detective as the movie would have us believe, bad guys got it, the good guys didn't and on we go to a sequel with a relationship that now you can build upon because we've already killed the first phase of the relationship, which is we really don't like each other because I punch this dude in the stomach. Foley never really takes revenge for him on that against him on that. I love that. Yeah. Yeah. No, it's great. Great inning. Yeah. I don't know if we would redeem Foley if we did that though, right? But it seems like a bad move. They say goodbye at the hotel. Follow me if you want one more drink and let's see where this takes us and we kind of we kind of head out. But I have a few notes here on Beverly Hills Cop. I think you'll like some of these. I'll get to the numbers here. We'll cap us out. But the idea started back in 1977 with a story called Beverly Drive with a cop from Pittsburgh name Ellie, Ellie Exel. The film was first offered to Mickey Rourke, who's kind of floating around it for a bit. And then directors around that time that passed on it were Martin Scorsese and David Cronenberg. Very different film. Oh, hugely different movies. Then it becomes a Scorsese movie. And the David. Yeah. And the David Cronenberg movie where where's the body whore in this? I can't find it. But then the interesting part is OK, so Special Stallone finds his way to this project. And it's like, oh, a thing. So when Stallone attached, 83 Stallone is like, well, this is a Stallone vehicle. I'm going to do it my way. Page one rewrite. So it becomes get rid of all that comedy and it becomes a page one dramatic rewrite. Michael Tandino becomes Foley's brother and it becomes like a revenge vehicle. And they got so in the weeds with it that Don Simpson and Brooke Chimer got to get them. We got to get out of this. This isn't the script that we really liked with that had more comedic kind of a take. So Stallone was like, oh, I guess I'm out of here. But he ended up using a lot of those ideas in Cobra. Cobra. Yeah. That's what I said. That sounds like Cobra. Yeah, exactly. So he stepped away from this film to do Ryan Stone, which doesn't seem like Dolly Parton. Yeah, sure. That's comedy. Comedy. Comedy. Yeah. Comedy. Two days after he dropped, they got Eddie Murphy. But some other names around that time that were attached were Richard Pryor. Interesting. Pachino, James Kahn, and Harrison Ford at the height of his powers, which when you okay, implant any of those four actors, this is a totally different movie. Those are four different movies. Right. Pachino Beverly Hills Cop is a different movie. It's called Heat. Yeah, exactly. Harrison Ford's, you know, is called the fugitive or Hollywood homicide. Right. And I don't know what the fuck James Kahn's vehicle is called. Yeah. Disaster. Exactly. It's weird how an actor tonally shifts how your movie comes across to the finish line. Weird. Yeah. Now, the numbers that I've been promising from the very get go. Okay. So this is just freaking wild. So consider today's current box office climate is film at a $13 million budget in its initial, it's a decent amount for 84, $234 million gross. Lord. I guess so. That's the biggest movie of 1984, it beaks. It's bigger than Ghostbusters. It's bigger than Temple of Doom, bigger than Gremlins adjusted for inflation. If this movie came out today, it's raking in $730 million domestically alone. Wow. That's bigger than Top Gun Maverick. It's bigger than, you know, everything above end game force awakens and Spider-Man no way home. Wow. Only three movies. Wow. Uh, it's the biggest, it was the highest grossing R8 film in the United States since 1977 when it came out currently. The only films bigger than this film adjusted for inflation are The Exorcist and The Godfather. Wow. It's pretty good company, right? Really good company. And then finally, 13 consecutive weeks at number one at the box office. That will never, never happen again. It's too competitive of a market now and it's big movie beats big movie. This film came out I think December 11th. That's, that's end of February. This film is number one. Yeah. You can't beat Beverly Hills cop. That's three and almost three and a half weeks. Number one at the box office. Shh. Never. Never again. That would never, never happen. I don't care how good a movie was. I don't care how good Barbie is. I don't care how good Avengers Endgame is. Endgame ain't occupying the box office space more than four weeks. No, not happening. Wow. To them. Beautiful. And they tapped into it that I've been saying for years and the Exorcist figured this out and Avatar figured it out. And Star Wars The Force Awakens figured it out. Release your movies in the middle of December because you get to write Christmas through New Year's into the dead January season. We're nothing's out. Yeah, I'm going to go see Beverly Hills cop three times. I want you to mark this down on today's show at 142 and 35 seconds because I think you've just alluded to what I think the next one's going to be on Christmas Day this year. It's gross for us. Oh, yeah, dude. It's going to be. I brought it up to my family this week and I'm like, you want to go see it. I'm like, we're not seeing fucking Coco or like we used to go to the movies all the time because we haven't done this for years. We are seeing that on Christmas Day. And it's going to have all of the rest of December, all of January and award season. February. Yeah. We buy a talented director that we both like. Yeah. Oh, Jesse. We'll see. It's also why Titanic's late Titanic came out late November. Titanic had the rest of November, all of December, January, February to rake in $2 billion. That's how you win. I don't know why more studios haven't gotten to school on release a good movie in that time and people will go see it or something that they can go back to, which I think this film offers, the Eddie Murphy-ness of the film and 13. Can you imagine? No. No. Even last summer, Barbie and Oppenheimer were like box office of nominees. Yeah. Barbie ain't number one for 13 consecutive weeks. I think it was number one for maybe three to four. Did Oppenheimer ever get to number one or was it second behind that the whole time? I believe Oppenheimer is the highest grossing non number one film of all time. All right. So a couple of questions for you. What's your favorite tasting note seen sequence moment of Beverly Hills Cop? It's the one that you had the sound for, the Bronson Pinchot, Sajh interaction with Folay. I just think it's very clever and really well done. So yeah, that's my favorite. Pretty good. I'll pick the opening semi-cigarette chase because I don't know, something said to that to the Pointer sisters, it's light but exciting but not like so serious we're like in like another film, right? It's like it feels appropriate to this movie and I really think it sets a tone and it's a highlight on the movie. What's the moment of Beverly Hills Cop? Yeah, that's a tough question this week. Do you have yours ready to go? I think for a minute. Go ahead. I've always been spun out. This is probably about the fourth time I've seen this movie. When Jonathan Banks executes Mikey in that doorway, I mean like I think this is supposed to be a comedy but we're going to like point blank shoot a guy in cold blood twice. It's kind of a dark moment for the movie that thankfully it gets away from that tone because I don't know if I'd be down for that with Eddie Murphy. I'm going to go with that one. It really sets the film like yeah I want to go see who did that to my bud. It was between that or the end of the film for me and the end of the film for me sort of on the opposite of the spectrum which is that's really how we're finishing this action sequence is how we get out so it's not a great, oh my god the way you're doing it's more like oh my god what just happened? So I'm going to go the other way because you took the first one. Who's the master dissimilar on Beverly Hills Cop? I really. Yeah. I mean it's obvious. Yeah. I'm looking at nothing. But Eddie Murphy vehicle. Indeed. We've talked about it for almost two hours. He's fantastic. He's really great as his character. I need to revisit two and three to see like is it the same vibe? Is it played down a bit and I'm really curious about this new one. How that plays out. Who's how are you going to rate in grade Beverly Hills Cop? Rocket? Well, call single barrel and tippy top shelf. I've never done this before. You're going to freak out. I'm giving this film a top shelf rating. This is the best awful film that's ever been made. It has nothing to do with Murphy and it has nothing to do with the director. It has everything to do with this horrible script that they delivered because this story is inconsistent as evidenced by the Jonathan Banks execution of Mikey and then we're yucking it up. Sure. We've talked a lot about, or I've talked about, we have. It's all in the execution. This movie gets a top shelf rating for me and how can it not because it spun four sequels and won the year against a Titan list of other films and that's not on accident with an impossibly, simply stupid story, stupid that almost was derailed. Could you imagine Mickey Rourke and Martin Scorsese handle in this? Martin Scorsese makes a very different movie that is probably pretty good. Yeah, that probably is that, I'm struggling with other movies. That's probably that Jack Nicholson, Matt Damon, the Departis. That's probably the Departis. Yeah. It's very Departis-esque. It's not. There's no pointer sisters in Martin Scorsese's Beverly Hills Cop. The movie's really, really unsinkipated. It's jazz-like. The story doesn't kind of deliver on what it sets up. It's sort of a bad story that's been told 50 times more. Interestingly, it's a terrible, terrible script. The performances in it are terrific. Even down to Judge Reinhold, Duke deserves honorable mention for his performance in this. The gal that Eddie Murphy's kind of girlfriend in the movie that made one film after this. Victor Maitland fresh off of his last day as Russian thug and Red Heat or whatever we just last saw him in. It's a fantastically delivered, superbly acted, horrible film. Top shelf. How about that? That's wild. It was either going to be for me. There was no well. There was no call. This is, or single bar. This is either going to be rock-cut or top shelf or top shelf and it was going to be one of it through our course of discussion day. That's, I'm not trying to be stupid. That's literally where I'm at. It's either a fucking horrible film that has great acting in it or the adverse of that, which is a really, really terrible story that never delivers and I can't get behind the character. That's fair. Wow. Single barrel for me. Okay. Yeah. Because, you know, it's a film that it's essentially an Eddie Murphy comedy routine and that's unique and if it's a film that just lets the guy go and just do your thing, it excels. Tenfold. He's really good. I think the soundtrack is, I think the soundtrack's really good. Yeah, there's something really interesting about Harold Faltemeyer's Axle F. It's fucking everywhere. Can we transition from any scene? Yeah, I think it's a little bit of a little bit more of it, and then the film's box office run. I got to give props to that because I mean, today I look at a lot of numbers. I watch the grosses every week. I see Kevin Costner films get taken off the calendar because they bomb. There's something truly impressive about what Beverly Hills Cop did in December of 1984 that can never be replicated. The formula, I mean, the model has shifted. We released stuff on streaming platforms and in theaters at the same time. How movies are released in theaters, right? Yeah. What happened then, and you got to be witness to this and see it in its prime, can never be duplicated. And that itself would alone deserve a single bell rating. Yeah, I'm with you. I think there's parts of film that film underwhelming, like that's it, that's the best action, that's the story, that's okay, but I have a good time watching it. I mean, it's not like I want to turn it off. It's not like I'm off poop by it. I think it's funny. I think the music's get me through and it's worth talking about in terms of its cultural significance. Boy, isn't it? Single barrel for me. Interesting. Exactly. But hey, let's wrap this up with our nightcap. [Music], and we're going to be doing it. It's everywhere in that movie, everywhere, and then two, a year and a half later, top gun. That guy was stealing himself in the 80s, right? Hit us with that nightcap this week. So this sparked up an interest in dormant film franchises that you feel should be restarted or continued. One of them probably is going to make the list of the greatest summers, best of the summer, that neither one of us chose, that's bad boys ride or whatever, the bad boys live or whatever. Is it bad boys ride or die? Whatever it is. Yeah. It's killing. Or bad boys for life. It's killing. And neither one of us chose it. Dude, never in a million years. No way. No way. No bad boys. But hey, when you have alternative programming to stuff that's just garbage, yeah, people are going to go see that, right? We should have snapped, Jesse, and I bet you that's the same audience wallet-wise that's the fast and the furious audience. Possibly. And we should have thought about that. Yeah. We didn't. So, to qualify for this, your film has to have the lowest bar, and that is at least two entries in the franchise of something that you would like to see continued today, whether in "Last Left Off" or "Rebooted" or however you want to do it. Okay. 3-3-2-1-1? Yeah. 3-3 for me. What's that? Gremlin's funny, it came up a lot today in the show. It left a bad taste with what they did after number one. And those little monsters you can have a lot of fun with. Joe Dontay did a really good job in the first one of playing in a horror and comedic space at the same time. I don't know if that movie has held up as much as I loved it then as I did now. I told you me and my daughter watched it once upon a time, and she couldn't wait to be done with it, and it wasn't because she was scared. She just thought it was dumb. But there is -- she did. She liked the kitchen scene where the mom attacks all the gremlins, and that's a horror movie, right? It is. It is. The microwave gremlin is awesome. Yeah. Look, though, there's some genius in that. Here are some rules. We like rules in our horror. Phoebe Cates. Phoebe Cates, and someone get their hands around that and do, like, Phoebe Cates -- and what's the other guy's name? Zach Galligan. Zach Galligan, 25 years after their end of marriage and their kids and something along those lines. So you want a legacy sequel? I do. I want a legacy sequel to this, and let me direct it because I know exactly what needs to happen. Or get Joe Dontay back. He's not busy. He's not doing anything. I'm for sure. You know what I really love about gremlins, too, though, is that's Joe Dontay, middle fingering it to Warner Brothers, and saying, "He does what I think Sam Raimi did to Spider-Man 3," which was, "You want me to make another one of these and you want this? I'm going to do it my way." And do gremlins, too, is an insane movie. Yeah. There's just so many crazy things. Christopher Lee, just, you know, all the different -- the electric gremlin? Hulk Hogan. I mean, gremlins, too, is wild. Yeah. I like gremlins one. And you know the scene that is just always flabbergast me in gremlins one is when Phoebe Cades tells that sob story about her dad dressing up as Santa dying in the gym and he's like, "So good." What is that? I know. Great choice. All right. Let's hear your third. My number three is the Zorro franchise. Oh, wow. Yeah. So whether we're going back to Douglas Fairbanks or Antonio Banderas, I think the character of Zorro is awesome. He's essentially Mexican batman. Yeah. And how are we not doing more with that? I mean, we talked a little bit off Mike about the disaster that is Kevin Costner's Horizon Western Epic. Yeah. Zorro is a bit of a Western, but there's something cool about a Western vigilante that is a Robinhood of sorts. And I re-watched the Mask of Zorro about two years ago. Fucking awesome. It's not going to win any awards, but Martin Campbell directs the shit out of that movie Anthony Hopkins is good, Catherine Zeta Jones is good. It's an entertaining summer action vehicle. There's fruit left on the Zorro line, and a lot of that's going to boil down to casting and who's making it, but who doesn't want swashbuckling, Batman, Indiana Jones superhero? Love that choice. I didn't even thought of that. That's a really good one. Man, if that's number three, I'm dying to see what your number one is. Yeah. Anthony already previously spoken about on the show, revisited here Karate Kid. Now you may say, "Look, well, there's Cobra Kymatt, and I'm not going to argue with you on that." This is the last of that season, according to both Machio and Billy Zabka. There's going to be a lot left on that because it's the legacy of all the kids and where we take off, and that rivalry between Lawrence and... Jesus. I'm struggling. I think this one I want to say in a little bit. We're almost done. Right up there with Hatfields and McCoy's, I think the X-Files showed that you can do a movie in the episodic, not the second X-Files, but the first X-Files film, and do it well. I like the submersion of two hours with no break without the filler that you and I have talked about of the bullshit that we have enough really for four episodes, but we got to make it 10. Give me a good, and I want a good two hours that wraps us up in a way where I don't need anymore. Because I know when the series is done, unless they kill some people, which doesn't seem to really fly. I don't want that. I don't either. I don't want Hillary Swank. I don't want re-imagining it. I don't want Will Smith's kid. I want regular old, old-school Karate Kid continue the film franchise. So continue Cobra Kai. No, don't call it Cobra Kai. Call it Karate Kid 4 or whatever it's gonna be. Continue that story. Yep. Very good. Because don't you agree that Cobra Kai is more zab, because point of view? Oh, yeah. It was made from that point of view, and I think the opening scene is him drunk passed out on the floor. LaRusso got into the fold, and I think we really embraced his difference from the film series. Yeah. And what's great about it now is how well they work together and kind of don't at the same time. Exactly. Yeah. They're great foils to each other. I can't wait for that last season. I don't know what the hell they're gonna do. He got crease in jail, you know, just going to Mexico to rescue what's his Miguel and Terry Silver is in the fold. Like I don't know what they're gonna do, but I bet it because those writers and I don't know how those writers haven't been tapped into some of their series franchise to revive or whatever because they're on to something. Agreed. Yeah. Two for you. Number two for me. Man, where is this at? Bring it back in some form or fashion. We'll talk about it again, this October, Nightmare on Elm Street, right? Is dormant as dormant can be? And I can't believe it because it's such a high concept idea to begin with. Freddy Cougar is an icon and maybe that's part of the problem is casting someone who can fill those shoes that have been so eloquently filled by Robert England. And I think pretty well filled by Jackie Earl Haley. Agreed. We just didn't give him another shot. But dream boogie man slasher, I mean, that plays and whether that's episodic television on Amazon Prime or HBO Max or in the theater, people want to see Kruger, give us Kruger man. I mean, we need it. And I think I want to reboot at this point. Okay. From the beginning, origin into the nightmares. Let's do it. Good choice. I'd be down for episodic like a Hulu original series and I'd be down for that. Apple TV presents Nightmare in Elm Street. I would watch every week of that. Good boy. Solid choices. Number one, it actually came up on the show earlier today. You know what I want? I want you to see, redo the naked gun. Let's go give me more naked gun, 44 and a quarter. Yeah. Legacy. I don't know how much, you know, we can get out of the previous players or there's no more space to go with Ochi Simpson for a lot of different reasons. Um, those movies, one, two and three, all made me laugh like no other franchise, one through three, has made me laugh. Why haven't we done them on the podcast? I know. I hadn't even thought about really the naked gun until I got to the, for the flight question for today. I'm like, why? Yeah. Do you remember the scene when they could go when him and Priscilla Presley finally hook up and they're wearing giant body? Body condoms. So good. Depends on something they could have with politics and the pandemic and stuff today with that, how irreverent they could be. Yeah. Oh, yeah. Such satirical Gen X glory. You know what was great about the naked gun too is it was slightly film the war with like it's musical like it was like this droning like saxophone in the background because that started as a TV series. The police squad was a TV series that like got canceled and then they somehow was like, let's make a movie. And then that's what took off, right? Fantastic choice. Number one. Number one, for me, we kind of floated around it on the podcast today, but it's a franchise that I've spent some good amount of time in the last couple of years spending in its expanded universe with the cartoon. Some made for TV movies and a television series. And there's so much fruit on this vine, but you have to get the satire, right? It's Robocop. Yeah. Yeah. Robocop three came out in like 92, 93 was, and then the remake, which was a huge swing and a miss. The world of a robot policeman, you know, that satirical to politics, media and law enforcement seems so apt now, but and the villains, the world, the technology that they've created within the omni consumer products, you can do so much with that. I need more Robocop in my life. And, you know, it does have to be Paul Verhoeven. Give me Harry Astor's Robocop, which would probably, you know, shred the skin off of my bones, would be probably too much to handle, but there's got to be something else there, right? Yeah. Oh, yeah. Something to do with the robot policeman, Alex Murphy. Yeah. And there are so many more crimes that were prevalent now that weren't when it ran in its initial run. Let's just forget about the Joel Kinemann experiment for a little while, although I don't think him even reprising the role would be such a bad idea. I see he could do that. Great. The problem with the remake wasn't casting because you had him, Gary Oldman, Michael Keaton, Samuel Jackson, Jack Ural Haley, how did that still miss? I mean, because it was PG-13, toned down, everything. I love that. I need more Robocop in my life. Six films we need to get going again right now. Any honorable mentions? Not really. I have two. Okay. Terminator. Yeah. And maybe the problem with that is if Cameron's not doing it, is it guaranteed to be shit? Possibly. Right. And then the verdict is still out on Alien Romulus, which I'm extremely hopeful for. But if that fails, I need a page one reboot on my Alien franchise because look at all those books right there next to Michael there, look at all the Alien mythology that's been built in novel form and video games. There's so much in the alien world that O'Bannon, shoe set, and James Cameron have created that that will work on film if done properly. So I couldn't agree more. I hope Romulus is there. Me too. I that last trailer for that film looks awesome, but I've been deceived by a trailer before. That's true. Yeah. So to that, to your to your list, to your list, hey, that's a wrap on Beverly Hills cop from 1984, but as we promised, we're going to spend a little bit more time in this universe as alluded to a little bit in your question. Let's just do Beverly Hills cop axle F. How does that sound? Great. In a film that will need to have this argument on the podcast, should this have been released in the theaters or is Netflix the appropriate home for a project like this, we'll see at this point. Yeah. So I haven't seen it yet. It for this next week's viewing, but whole games back, hmm, tagger, judge Reinhold, I think Paul Reiser's in the movie too, yes, and a rice smile favorite, Mr. Joseph Gordon Levitt. So sweet. There's got to be enough for us to like about it. So let's see if they may be fix some of the things that you needed in this film. And let's see if they don't make the legacy sequel fallies that befall a lot of later sequels. Yeah. Like Ghostbusters afterlife or some other films for me. Frozen Empire, whatever. Yeah. Yeah. Yes. It can be a really fun watch this week. Excellent. Well, to that to that. Cheers. Cheers to you. Hey, I got to get going. I got a ticket booked. I'm going to Beverly Hills. Hey, do you want to come with me? I'm there. I'll bring the music. Excellent. And the Chevy Nova. Are you bringing, are you bringing the Eagles or are you bringing just Glenfry? I'll bring the Eagles and the best of Huey Lewis and we'll kill all those birds with two stones. How about that? Sounds good. We'll see you all next week. Have a good week, everybody. We'll see you in the dark. Thank you for listening to Rise Mile Films. Beverly Hills Cop is property of Paramount Pictures, Don Simpson and Jerry Brockheimer Films and Eddie Murphy Productions. And no copyright infringement is intended. Until next time. Cheers. Let's think about stopping off against something to drink though. Yeah, we sort of figured you would. Does that mean you guys are going to join me? I don't think so, Axel. We're still on duty. Well, I don't think one beer is going to kill us, Billy. That's right. Listen to tag it here, Rose. We're lighting up, all right? One drink's lacking the chill of us. We guys, if you fall too far behind, don't be afraid to hunt, okay? Where we going anyway? Don't worry about it. Just follow my lead. Another perfect place. You guys will love it. Trust me. I can't sit here while I'm home. Oh, yeah. Chase my dreams through the blue day. First jump off the pavement. Passion hits the street. Anger's cooking and the city. So much pressure to people holding on. Pack my clothes up baby, I think I'm scared of you. I've got to bring it up now. (upbeat music)
