Latest / Houselights: A Film Director Podcast / Beverly Hills Cop II (1987) - Tony Scott | Houselights #163

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Beverly Hills Cop II (1987) - Tony Scott | Houselights #163 · Houselights: A Film Director Podcast

0:03
Welcome to the nee Palty. Welcome to twenty twenty four and house Lights,
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where we are opening as our first director of the year, an examination of
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the work of Tony Scott, legendary blockbuster director, and we will be starting
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this journey with a look at nineteen eighty seven's Beverly Hills cop iiO, an
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epic romp through la starring Eddie Murphy and a cast of silly characters who are
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trying to recapture the magic of nineteen eighty four's Beverly Hills cop I am joined
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on this stakeout by two esteemed members of the house Lights Police Force, Detective
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Tristan Riddell and Detective Darren Mosart. Gentlemen, are you ready to go on
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this journey through strip clubs, arms, deals, dog tracks, and just
1:04
about anything else we can throw into the mix. I'm super ready to visit
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the famous oil fields of Beverly Hills. Oh, Beverly Hill's well known for
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oil fields and movie star homes. That's very true. Yeah, they're right
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behind the track, you know, That's where I put my oil field so
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well. And the important thing is it's very healthy to go jogging through oil
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fields. A lot of people don't realize that with the fumes that are there,
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it motivates you to run faster. So as you're getting your miles in
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and getting the red clay on the bottom of your speakers, you know it's
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important to go through there. Now. Gentlemen, I know that the two
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of you were far too young to see this in the movie theater. But
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Tristan, I know that this is your first encounter with Beverly Hills Cop Too.
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Darren, please remind me, is this your first encounter with Beverly Hills
1:49
Cop Too. No, but it was fairly recent that I watched the first
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I went through. I saw they were all on Plex and I'm like,
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you know, this is a series I haven't watched. And foolishly, I
2:00
mean, I have a movie podcast where we talk about these things. I
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should have waited, But no, no, it was within the last year
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or two. I watched I think the first three, so I had seen
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this before, but it had been a little while, so it was like,
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oh, yeah, I kind of remember the you know we have you
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know, quantum leap characters appear in we have giant laser targeting scopes and and
2:25
I don't know, it's it's a it's a fun movie, but I don't
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know if Axel Foley is my brand of humor. It's a lot of kind
2:35
of throw at the wall and see what sticks. So we'll we'll get into
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that. But no. So this is technically not the not the first time
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watching, but Femi recently in joining this franchise, and and Tristan, I
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know that this is your first time, and you watched the first one before
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this one. This is your first exposure to what was considered a cultural phenomenon,
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the series that basically put Eddie Murphy on the map as a bankable movie
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star. Axel Foley is still a role that he is very much related to
3:07
in gen X's brain. You say Eddie Murphy, I'm a gen Xer.
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I think of Axel Foley first, all of the stuff that he's done.
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That's the first role that I think of. Because the first movie was such
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a breakout success, but it's sequels had questionable reception despite their box office returns.
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What's it like for you, Tristan coming at this cold this is your
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first exposure to this character, this franchise. It was really interesting and I
3:32
I relished it because it was it's one of those things where you're a little
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embarrassed to admit that you've never seen it because you know, like you know,
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you know, being a fan of Eddie Murphy's stand up and some of
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his other movies and performances and his persona and everything like that. It's one
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of those things you're like, man, how on earth did I miss this?
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And as I was watching the first one, because I because you guys
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told me like, hey, we're doing you know, Tony Scott, and
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we're going to start with bevery Lehill's Cup two, Tristan, you haven't seen
4:00
it. Watched the first one first, and I'm so glad that I did.
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But as I was watching the first one, a few things kind of
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popped up where I was just like, wait, I've seen that. Wait,
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I've seen that. And so I think I've been around it or it
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must have been on TV a couple of times where my dad has watched it,
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because I think there was one thing that actually has stuck with me that
4:20
I didn't realize was from this movie is when when Eddie Murphy like puts his
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hand his finger in the cocaine, tastes it and goes, well, it's
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not sugar. Yes, yes, banana and the tailpipe was definitely a crowd
4:34
pleaser back in the day too. That was and a lot of debates were
4:39
had as to whether that would actually work. I've never tried it myself.
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I've either of you, gentlemen, ever put a banana in somebody's tail pipe
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to see if it' stalled out their car. I have not, but I
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think the Misbusters must have done it at some point. Oh, I'm sure
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they did. And I think it actually did because it created like, like
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there needs to be that kind of fl of gas. But don't quote me
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on it. No, you know, I'm surprised that there weren't more stalled
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out cars in the eighties because of that movie, to be honest with you.
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But Beverly Hills Cop Two is a completely different animal. After the success
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of the first one, Paramount actually wanted to do a TV series. Eddie
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Murphy didn't want to do a TV series, but said, I'll do a
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sequel. So, of course, Don Simpson and Jerry Bruckheimer, they love
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to make money. If their career is staked on one thing, it's that.
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So they bring in Tony Scott, who's already got top gun under his
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belt, which was the biggest movie of eighty six. And so I gotta
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ask Tristan, since you're the one that just watched the first two for the
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first time, what do you see in this first film we're looking at with
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Tony Scott. Now, we're all familiar with Tony Scott coming into this,
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we're revisiting his work, We've all seen different stuff from him. Now,
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Jarring, is the difference between Martin Brest's style and Tony Scott's style? Oh,
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my gosh, it was. I'm so glad that you asked this question
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so close to the top of the show, because that was the thing that
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I was most excited to talk about. Was you know, like I finished
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it today and my wife kim me and said, like, what do you
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think of it? You know what you like? And the first thing out
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of my mouth is I was like, well, it's a Tony Scott film.
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It is very much a Tony Scott film. I mean, like from
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the word go it you see him all over the screen. You see it
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in the shot selection, the editing, the inner cuts, the energy,
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just the the perpetual sunset of and sunrise of a lot of the shots.
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It's just you it's such a different animal from breast. Oh my gosh,
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I mean. And also it was it was shot in two point thirty nine
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on Super thirty five, and you can really tell the difference between the first
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one, which was one point eight five on Sphere, and that that in
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itself really lends itself to be a much more action packed film. And I
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think that was one thing I really appreciated about this movie is that it it
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is an action comedy where the first one, you know, like I mean,
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there there is action in it, you know, like and and there
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there are there is gunplay and everything like that. But this one ups the
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ante, like you like this. There's even the scene towards the end when
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they're at the like the final shootout with Brigitte Nielsen and Jurgen Procknower I can
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never pronounce his name properly that that almost felt like a John wu film like
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that at the end, like there was so much there was so much action
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and so much beautiful imagery, like with the horses running behind them and the
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in the in the pigeons and you know, flying. Yes, I was
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going to say, we might not have had doves, but we had pigeons.
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And somehow that just seems to work with like a Tony Scott version of
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a John Wu shot. It's like it does for some reason, it just
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makes sense that it's pigeons. I don't know why, it really really doesn't.
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Like I actually went back to John Wu's filmography after watching this, and
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I was like, you know, like when did Hard Boiled come out?
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You know, like like like when did Tony Scott watch a John Wu film?
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You know, like that kind of thing. Ye, But no,
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I thought the visual language was so much more in the vein of what I
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like to see in an action film, especially an eighties action film, and
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so this was, you know, like one thing that we really like to
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talk about is where do we see the director? And I think with this
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film it's very much where do you where don't you see the director? That
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I honestly, I don't think that there's any point where this doesn't feel like
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a Tony Scott film, even the stuff that's shot, because when they first
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screen this, there's less comedy in it than the first one, and so
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they they juiced up the They went in and they reshot some stuff and put
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some inserts in. Darren. I think Tristan rightly identifies that this is much
9:07
more of an action comedy instead of a comedy with action in it. Do
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you think that works particularly well? You're coming into Beverly Hills Cop two,
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You're expecting Axel Foley's comedy hour here. Do you get what you're looking for?
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Do you get something different and like it, you get something different and
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it works anyway? Or do you get something different and it's disappointing. Yeah,
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it's pretty much as expected. You. Yeah, there's definitely a lot
9:33
more action and the stakes are higher. I mean, that's a sequel right
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there, Like you got to make it bigger and better, and you know,
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I think it's starting to hit the numbers in a good way. It's
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like, okay, well you need Axel to you know, bs his way
9:50
through a couple situations. He does that. He does that a lot,
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and you know, we're on the edge of disbelief in some of those,
9:56
like yeah, I think the vitem and one about the plutonium pills that are
10:01
gonna blow up. I'm like, who are these people that believe? Like
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the the the the house one I buy Like okay, like here's a guy
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kind of getting the guy flustered enough that he's not thinking straight and oh no,
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I had the wrong plan. So I'm gonna leave for a week like
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that that I can kind of buy, But some of his bluffs, I'm
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like, really, okay, I guess we got to just turn off that
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part of our brain and just roll with it. But now I felt like
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it was a good a good balance for me as well, because Eddie Murphy
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humor isn't my extreme cup of tea, not that I don't like it,
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but there was plenty of action going around, and also we got a lot
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more I felt of No I'm blinking on the names of the other two cops.
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It's to his partners, Like every scene therein I'm cracking up because they're
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playing kind of the straight man comedy man. Well, they're both the straight
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man to Eddie Murphy, but in different ways, and that plays really well.
11:03
So I think bringing them back, uh was a was a smart move.
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So yeah, so he gave me everything I was expecting. If I
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could interject, that was one thing that I really appreciated with watching the first
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one first is I feel like I really would have missed out on Taggart and
11:24
Rosewood and even even Ronnie Cox's character. You know, like even though like
11:33
you could infer a lot, I mean Dick Jones. Sorry, he's always
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going to be Dick Jones. It doesn't give another name. He's Dick Jones.
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And it's because of his role as Dick Jones that he his part got
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shranked down in this movie. Really is he was doing robocops, so they
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were like, Okay, well we got to have him back. So you're
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going to be diy quote unquote, but be in the hospital that will not
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even see for Yeah, I thought I thought that felt a little. I
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felt like I was like, really, we're not even going to get him
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like in the hospital, Like we're not even going to see him in the
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bed, or like we're not going to see him like talk to anybody,
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like right over there, he's right there. Yeah, nothing like that.
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Honestly, it's a lot like Yeah, it's a lot like Anthony Edwards in
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Revenge of the Nerds too, which is a franchise nobody should revisit. It
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does not hold up. Like, boy, you talk about something, it's
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a time capsule, but he's barely in it and he's just on the phone
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because he was off doing other things. I think Top Gun was like in
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his you know, like like he was getting ready to film Top Gun or
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something like that. It's like, well he made a smart career move.
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Yeah, but similar sort of thing. Yeah, that's that's so interesting because
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I really loved all of them together. And it was really like right at
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the beginning of the movie when we're you know, like we saw the picture
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of them fishing together, like they're on a fishing trip, and you know,
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like seeing how close Eddie Murphy is to his daughter and and everything like
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that to run A Cox's daughter, it all like warmed my heart. I
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was like, Oh, they stayed friends, you know, like that,
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like they weren't just camp friends. They actually stayed in touch, like like
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I love I love that with sequels, you know, I really liked I
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really liked seeing that. I appreciated I appreciated that a great deal. Now
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while I also appreciated it, Darren, I'll throw this to you, it's
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very obvious that this is a movie put together simply because the first one was
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a big hit. It's I'm gonna throw right out there. I think it
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suffers from what I would call Home Alone two syndrome. Even though it's released
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before that, where the first one is such a huge hit, they have
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no choice basically but to do a sequel. They're and they're I think they're
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kind of yeah basically, but using your own, you know, remembrance of
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the first one and then looking at this one, I would say that one
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of the fair criticisms of this it's sort of like franchise wise, is it's
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it's very much sort of like hits the same beats as as the first one.
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It's sort of like they took the first script and they were like,
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Okay, well, all right, the strip club thing worked, so let's
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send them back to a strip club. And this thing worked, so let's
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send them back to that too, and let's make all of these sorts of
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things. And I think that's I think result obvious to me. Sorry,
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I really didn't mean to cut you off, no please, But that's that's
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when it became painfully obvious to me, was the strip club scene. I
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was like, why why are we back here? Just just because they were
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they went to a strip club in the first one, Like, that's that's
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what it felt like. You're just like it was so eyrolly. I was
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like, this is that entire segment is completely. You could excize that completely
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and nothing would be lost except like like having the car crash at the end,
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like actually, you don't even need like you didn't even need that,
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like because like it was if you excise the scene and just have them in
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some other location or just wherever they were a restaurant and then it all starts
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after that, or just like walking on the street and then somebody tries to
15:01
take a hit on Foley, that's it. That's all you needed. You
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know. Maybe that was one of the scenes that they inserted for humor.
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I don't know. Well, I mean, I see they inserted because its
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nineteen eighty seven, Like that's yeah. I mean, the thing is you
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I think that this is also very interesting time capsule sort of effect as well,
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because the whole Playboy mansion scene like that was part of the zeitgeist in
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the eighties, was like that was supposed to be the cool, hit place
15:30
to go sort of thing. And even that, why did you know obviously
15:35
no decision in a movie. You can pick anything apart and be like,
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well, it could have been somewhere else, it could have done this here.
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But the whole point is he's ambushing the guy at a charity ball,
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and so setting it at the Playboy Mansion just seems like it's so weird that
15:50
it happens there. I like, there's no reason for it to happen there
15:54
except for the fact that it was a popular thing in pop culture at the
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time. I'm to reference it, Darren, I mean, given the strip
16:03
club, given the Playboy Mansion thing, do you think that there might be
16:07
a little bit too much influence from Simpson Bruckheimer at that point to sex up
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the feel of the picture. Yeah, I was trying to double check.
16:19
I'm assuming this is our It's got to be oh yes, right, oh
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yeah, so, especially in eighty seven. But yeah, Well, one
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thing I wanted to say on I think you nailed it when you said earlier
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the home Alone two effect, because I've heard that even the director has stated
16:37
like they basically told the exact same story slightly better in a different location.
16:41
And this does feel at times like if this was the first one. Like,
16:47
obviously it's not, because they referenced things that happened and they already know
16:49
each other and you don't have all the meat cutes, but if you could
16:55
almost have this be the first one, if you really wanted to, like
16:57
as far as story wise, so you know, just bigger and better and
17:03
more guns in the trunk. But yeah, it again the sexiness, it's
17:11
like it's not an animal house kind of sexiness, like where it's like,
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oh, it's like a raunchiness that we're throwing in there because we're trying for
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the like the teen audience. You know, I'm not quite sure what they're
17:22
what they're going for, what they're trying to pull in. I mean,
17:26
it's like stay for the jokes, you know, stare at the screen if
17:30
you really don't like the jokes. I don't know, as we'll see how
17:33
it goes well. I mean, it's it's definitely something that I think the
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movie struggles with a little bit. I think that I'll go ahead and I'll
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throw this to you, Turson. I think that this film very much benefits
17:45
from Tony Scott directing it because it's what makes it interesting to look at.
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To borrow the phrase from Darren, I forgive a lot of stuff in this
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movie because of how it's edited, because of how it's shot, because I
18:00
like the way Tony Scott does things, and I look at it and I
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as I watched it this time. I will honestly say I didn't like any
18:08
of the Beverly Hills Cop movies after the first one. The first one I
18:12
was the right age. It was part of the you know, sort of
18:15
like the cultural shift at the time. It made it Adie Murphy a star.
18:19
I did not see it in the theater. I was too young for
18:22
that, but I did see a couple of pieces, and I saw it
18:25
on home video and it was like it was just part of the thing,
18:26
right. I think that I've never cared for the sequels to Beverly Hills Cop,
18:33
because really it is again just like Home alone. It's like you really
18:36
should just walk away sometimes. And Die Hard as well, and boy die
18:41
Hard comes out the year after that Hard. Yeah, And as much as
18:47
I love the third one, I wind up forgiving a lot in that one
18:49
because of certain things as well. But Beverly Hills Cop should have just been
18:55
a one and done, just walk away clean, just be done with it.
18:57
Man. And do you think that Tony Scott brings enough to this to
19:03
justify its existence, to make to make you go I'm glad this picture was
19:07
made? Or is it something where you realize his style makes up for some
19:12
of the lack of substance. I I'm like you, John, where I
19:18
really dig what Tony Scott does. I I just I just really love how
19:22
he tackles film, how he takes it from a visual standpoint in a non
19:27
reductive way. You know, like when he when he looks at visual storytelling,
19:32
it's not like, oh, let's throw as much crap at the lens
19:33
as we can, you know, let's let's make as much visual garbage on
19:37
the screen as possible to distract from the you know, the horrible story.
19:41
It's very much how can I tell this individual way? How can I make
19:45
this interesting with editing and with cinematography, and you know, like you can
19:51
really tell that so much of the crew that was on Top Gun is on
19:56
this one, like with with the with the cinematography by Kimball, with the
20:00
editing by Elebinson and Weber who are on Top Gun as well. You know,
20:06
like it's I think one scene is during the horse race scene where they're
20:11
they're see John, you're non you head and you know exactly what I'm talking
20:12
about is that when they're you know, raiting the cash and you know,
20:18
like which is a tense scene in itself and the way that it's shot,
20:22
and and I love I love how smart the robbers are, specifically when it
20:26
comes to getting the cash out. Like there's so many films that you saw
20:32
in the seventies and early eighties where the heist films are just like get the
20:36
cash and get out, okay, But how are you cash is heavy?
20:40
You're like, how are we going to get it out? What? What
20:41
are we gonna do here? Like, you know, like how many guys
20:45
do we need? Like I love that they have. They had everything thought
20:48
out, like with the devices and the and the and the rigs and everything
20:51
like that to get it through the ceiling and whatnot and and and get it
20:52
around anyway. But you have Brigitte Needslan's character, you know, doing the
20:57
countdown with with the Stopwatch, you have people you know, with guns grabbing
21:02
the cash, and it's inner cut with the actual horse race itself and fully
21:07
and crew trying to make it there in time. You know, all of
21:10
this put together, it just adds tense. You know, it just adds
21:14
this, you know, this this tense feeling to it and have it has
21:17
a literal ticking clock, and that is Tony Scott right there, like like
21:22
another director, Martin brest Ooh, who I like? Who I like as
21:26
a director, you know, would have seen that and just had fully coming
21:30
in the car and then Brigitte Nilssen counting down, you know, and that's
21:34
it. Those are the two elements that would have been intercut. That's it.
21:38
And Scott brings a new dynamic by adding in as much as he can.
21:42
Well, even some of the shot choices with the the you know,
21:47
the race, the horse race itself like that. There's even one where it's
21:51
like from the jockey's perspective and like it amps you up, like I felt
21:53
it. I was like I got amped up because it's like, oh,
21:56
it's all with this energy. And I realized what he did was he just
22:00
cheated. He knew he needed people to be even more on the edge of
22:03
their seat, and he's like, what can I do to screw with them?
22:07
And I mean that in a good way, like he's he's a smart
22:10
He was a smart director where he was like, how am I going to
22:12
get people unnerved, excited and unexpected? And in terms of the heist Darren,
22:19
I'll ask you you see Heat by Michael Mann, there were aspects of
22:26
that heist that I think you see echoed in Michael Mann's Heat, and I
22:30
think you also see echoed a little bit in the Jokers heists in the Dark
22:34
Knight, there are aspects. I think this is one of those things where
22:40
Tony Scott winds up just by pure force of talent reshaping how those heist sequences
22:48
get done, because people can sit down and look at this and say,
22:49
oh cool, I see how you did that, and how can I peel
22:55
it apart and make it my own. Yeah, I mean, because there's
22:59
there's a few that we see in this one, and I like, I
23:03
liked all the parts that you guys are talking about, you know, the
23:07
inner cutting, the countdown. I liked how they played with time, like
23:11
she's counting down and they're zipping out. And then like I'm thinking specifically of
23:15
the racehorse one where they show up and it's like it's been a while,
23:18
like they are not anywhere close to being on time, Like the cops are
23:22
already there. They like no one's rushing in, so you feel like they're
23:26
gonna get there, like in the moment and it's like no, like this
23:30
happened, you know, you know, thirty minutes ago, and I like
23:33
that, and I like me a smart villain that I think my issue comes
23:41
from I am told this is a smart villain. I am not shown this
23:48
is a smart villain, meaning to say, you know, we get scenes
23:53
like oh yeah, like if you follow exactly what I say to do,
23:57
like everything will go to why did you go away from my instructions of like
24:03
okay, okay, we get it. But and again the timing, the
24:07
fact that it's you know that everyone listens. No one's like, oh but
24:11
I'm gonna grab something extra like no one she says zero, Like they walk
24:15
like they're they're obedient, bad guys. All great stuff, but I and
24:21
I know this changes like a lot because you have the I know the reason
24:23
of the alphabet crimes and it was the smoke screen for the later one.
24:29
But I I always like it where everything's building up to the heist, like
24:33
one big heist, and maybe you have a couple leading up that are kind
24:37
of like testing the car and testing and I know that makes it a heist
24:41
movie, which is not what this movie is. But so for all all
24:45
that said, I think they did enough to convince me and I enjoyed it,
24:51
but I would have liked seeing more of the brilliance instead of just told
24:56
it and oh yes, it executed well through the power of editing, you
25:02
know. So I don't necessarily feel like, oh, man, like Axel
25:07
was up against this mastermind. I'm like Axel was up against the bad guy
25:12
who just happened to, you know, run circles around the cops, and
25:17
the cops aren't really showing any stars in Beverly Hills, Like it doesn't seem
25:22
like it's that surprising to throw throw them for a loop. Yeah, Tristan,
25:29
do you have anything you want to answer to Darren or anything you want
25:30
to add to that. I I one thing it made me think of.
25:37
I don't necessarily disagree with you, Darren, But what it got me thinking
25:41
about was Axel fully always being right, which was a little exhausting here and
25:48
there, because like when they talked about like cracking the cipher of the you
25:53
know, the the Alphabet killer and everything like that, it was just like,
25:56
oh my god, you know, like Eddie Murphy's going to be the
25:59
one where to crack this, even though they have the entire department on it,
26:02
Like He's going to be the one that cracks it. But at the
26:03
same time, I thought that they saved it when he said He's like,
26:07
hey, no, I only did the first one. The first one was
26:08
super easy, like he wanted to get caught. I was like, okay,
26:11
but there is a lot of times when it felt a little awkward where
26:15
it's just like, oh, I can do I can get into this window
26:18
because I know how to do this, or like I can get the print
26:22
because I know how to do this. It was it was fun at first,
26:26
but then they kept redoing it, and I'm just like Rosewood and Taggart
26:30
are cops too, Like let them, you know, do some investigating work.
26:34
Don't I know that it's the Axle Foley Show. I know it's the
26:38
Eddie Murphy Show. I mean the dude put his own name over his crotch
26:42
in the credits, like, you know, like Eddie Murphy's there, all
26:45
right, He's there, this is this is his baby, and I think
26:48
this is like the first film that he co wrote or something like that,
26:52
but there is I looked up online, you know, some criticisms of it
26:59
and at what they felt. A lot of people said that this felt like
27:02
an ego piece for Eddie Murphy and they're not wrong, there's right, yeah,
27:08
but it doesn't always bother me, you know, you know what I'm
27:11
saying, Like it's it's a valid criticism, but I it doesn't turn me
27:17
off too much. And knowing it is what it is, it's not like,
27:21
oh well yeah, that's just what it is. It's surprise. But
27:25
this is where I back into another compliment for Tony Scott, because Eddie Murphy,
27:30
it is on screen. You can see that he is flexing, that
27:33
he is Eddie Murphy ing this. This is his baby, this is his
27:38
character, this is his name, this is gonna be his thing. And
27:42
people are gonna love Eddie Murphy in this movie. A lot of other directors
27:48
collapse under pressure like that and and it folds. And I think that you
27:52
need a Tony Scott standing in there, especially because he has top gun under
27:56
his belt, able to go and work with an actor like that and still
28:02
make something that is coherent enough that you'll watch it from beginning to finish and
28:07
not walk out. This very easily is a movie that could have gone absolutely
28:12
sideways and been a This could have been a Hudson Hawk, right. This
28:18
could have been an absolutely terrible movie. But it's not terrible, and I
28:23
say it's because of Tony Scott, because they're you know, you read some
28:27
of the stuff like Eddie Murphy. Listen, I'm not dragging the guy for
28:33
saying this, but you know, this is what happens with a lot of
28:37
people and they have the big hit, all of a sudden, they show
28:40
up on set. I'll show up when I want to. I don't care
28:42
if I make people late. This is my show. I'm the big I'm
28:47
the big name. You'll do what I want. He's getting eight million dollars,
28:51
which, accounting for inflation, is twenty one million in today's money,
28:55
so he's got a sizeable paycheck coming along with this. He knows they need
29:00
him, they can't make this without him. And the fact that there is
29:04
that coherence that it still feels like a Tony Scott movie, that he still
29:08
controls it enough that it's still a movie worth watching. Okay, I will
29:15
give all of the credit to Tony Scott for that. However, all of
29:19
that said, Darren, I'll throw this to you first. I think that
29:22
some of the coherence starts to come apart in the back half of the movie,
29:27
the cement truck chase. Is that is an idea that never should have
29:34
made it out of the writer's room. That somebody should have said, oh,
29:38
Rosewood hijacks a cement truck. Somebody should have been sitting there and able
29:44
to say, And this is where I puzzle why Tony Scott doesn't say,
29:48
ah, no, I don't. They're gonna find out where they went with
29:52
it. We don't need that cement truck. Chase. I think that Darren,
29:56
what you said about the villain, I think that you're gonna now I'm
30:00
never quite sure of his threat. He's just there and it's like okay,
30:07
and then at the end it's like, ha ha, I'm the Mastermind and
30:10
I'm like, haha, I don't care. Do you think that this I
30:14
mean, am I being too harsh? Do you think that this movie has
30:17
a coherence that keeps it all together? Or do you agree that it suffers
30:21
from, I mean, basically, that impulse to go too big, too
30:26
much, you know, too quickly. Yeah, I mean it. It's
30:30
it's writing the line. They're introducing a lot of villains. There's like the
30:34
Mastermind, and then there's the executioner, and there's the middleman, and there's
30:38
the like you could easily done that as they're all one person. I mean
30:44
it could have I would just say, you know, just have you know,
30:48
bridge it be all of it, like smart and executing it and you
30:52
know, keep getting people out of her way. I'm fine with that,
30:56
or even I'd even take a twist where she is the mastermind and she's using
31:02
the other guy as like a front that that's what they're thinking it is,
31:07
but she's the one who's been pulling the strings. I would have even gone
31:10
for that. So yeah, you you know, we talk a lot about
31:15
protagonist confusion and not that this has villain confusion, but they're they're throwing a
31:19
lot at us and it's a lot of new people that aside. Yeah,
31:25
on the second half, it does it stick the land? Yeah, that's
31:30
kind of the question because there is a lot going on. You have the
31:33
big shootout, you know, the shootout the whole They could have gotten to
31:37
the oil fields kind of like earlier. I'm not saying make the movie shorter,
31:41
but yeah, I think you could have totally cut out the cement truck
31:45
scene. I feel like maybe they had already shot like the scenes with the
31:51
police chief and he's talking about the cement so they're like, oh, we
31:53
got to shoot it because this scene won't make sense where he's talking about this
31:57
later, you know, like it it feels kind of shoehorned at that moment.
32:01
You brought up earlier about about like, you know, suspending disbelief again
32:08
that police chief I could not take serious the entire time, well like him.
32:13
And also just the cement truck chase, like that was one of those
32:16
moments when you're like like, Okay, I know this isn't this is a
32:21
cop action film of the eighties, but how negligent and irresponsible and dangerous the
32:31
cement truck chase was. It was so hard to It was so hard to
32:37
be on Judge Reinhold's side during the cement truck chase because like there was one
32:44
dude who was backing out of his driveway and you're just like, I think
32:47
he's dead. And the thing is, we're laughing because of how you delivered
32:52
that. But yes, I had the same reaction where he hits the guy
32:57
and I'm like, oh, dear lord, that's all It's not funny.
33:00
And then the mayor is just like who cares? Like he's just like who
33:05
cares about the cement truck, they foiled the robbery, we got the money
33:07
back, no harm done. I was like, you are a crap Mayor.
33:10
Well not only is it crap Mayor, but we got the money back.
33:15
And I'm thinking, well, that's great because you're gonna need it for
33:17
all of the lawsuits that are going to be filed against you. And why
33:22
does rose Wood still have his damn badge? Why is he not a mean
33:25
And listen, I know that this seems silly as well, but even at
33:30
the end, you know, giving the the you know, John Ashton's character
33:35
that Taggert, the the where he shoots briget Nielsen and it's like that old
33:39
Western where it's like haha, and it's like no, like I don't I
33:45
For some reason, it just didn't play well, Like he was too flip
33:49
about it, and it's like that his character isn't that his character, isn't
33:54
that guy, no matter how much you want to have over this, you
34:00
know, right, yeah, and it's yeah, but but it's you know,
34:06
and then even going it very much feels Simpson Bruckheimer that the shootout at
34:10
the end is trucks blowing up with rocket launchers, comically misfired and stuff like
34:16
that. It's like this. If anything, I think the ending betrays the
34:21
spirit of good will that I carried over from the first one, which while
34:27
it was smaller scale, I wouldn't go personally. I would because I thought
34:32
I thought that was hilarious when he shot the missile into the into the truck,
34:37
I thought that was awesome. No, but but I'm saying the whole
34:40
thing. If that was your one, if that was your one, gotcha
34:44
moment. But it's multiple trucks blowing up. It's ok. It's not just
34:49
a drug lord's home. It's World War fricking three going on behind a horse
34:54
track with behind, you know, the Beverley Hill. If anything, I'm
35:00
surprised whether they didn't have like one of the oil rigs blow up. That
35:04
feels like a Simpson b. Chane reaction and it goes and it's every willhead.
35:07
Yeah that would have been cool. Yeah, I mean I would have.
35:10
Now I misremember I just watched it a few days ago. I've thought
35:15
for some reason that the police chief didn't know who was driving the They didn't.
35:22
They didn't find out that Tigert and Rosewood were involved, Okay, which
35:24
I was because you were saying like, how do you still have his job?
35:27
I'm like, because he didn't tell anybody, like nobody knows because he
35:30
knows he'd get fired and thrown in jail immediately. Okay, I was I'm
35:36
like, I'm pretty sure they didn't know who did it, but I well,
35:38
I'm not saying it's an excuse, but well, no, I'll say
35:43
that. That's one of those things though, where you know, I pride
35:46
myself on paying attention to detail in film. But that's the point, that's
35:52
sort of the point at which where I've started to disconnect from what's on screen
35:55
and I'm just watching it going I really like the way Tony Scott shot this,
36:00
and I don't care what's going on. Ye like, this is just
36:04
wow, that's a beautiful shot. Blah blah blah. Explosion. Explosion.
36:07
Man, like they look the oil field looks amazing. I wish there was
36:10
one in Beverly Hills, you know, I mean I laughed out loud when
36:15
the movie started and we see we saw Ronnie Cox in the oil fields and
36:17
it has the text in huge letters on the bottom Beverly Hills, California.
36:22
I was like, what, it's as funny as it's as funny as Rumble
36:28
in the Bronx. Uh where that Jackie Chan movie opens up and it's supposed
36:32
to be set in New York and you see like the mountains of you know,
36:36
Hong Kong or whatever like in the back. I've never been to Hong
36:37
Kong, forgive me, but like whatever location they were shooting in, you
36:40
see mountains and I'm like, I've been to the Bronx. That's not really
36:44
what that looks like. But okay, I can't remember the name of it.
36:46
But my wife was watching a K drama and it was set in like
36:52
La Area, and they obviously didn't care about like where things are because they're
36:59
like zipping around like little five minute drives and they're hitting like all over.
37:04
I think they even like almost went as high as like the Bay Area in
37:07
this little trip. So it's obviously they were just playing with like that just
37:10
doesn't matter that, you know, Disneyland is nowhere near like the Pier,
37:15
which is nowhere near like the Hollywood Sign. You know, people outside the
37:22
States have no idea how big our states are. Oh well, I mean
37:27
I always love going to Jaws three, and they have it at SeaWorld in
37:30
Orlando and it's like it opens up to the ocean. It's like, sorry,
37:34
guys, that's like forty five minutes either direction in a stream line.
37:37
That's not where SeaWorld is. Okay. I just went to clear about that.
37:39
SeaWorld has to touch the sea the way SeaWorld. Yeah, I know.
37:44
I've told this story before, and I'll just tell it a shortened version.
37:46
I once watched a TV show where it said it was gonna it was
37:51
take place in the middle of Illinois, which is where I was born and
37:54
raised, and they had someone fly off a cliff and explode with mountains and
38:00
the background. If you know anything about Illinois, like we can barely go
38:05
sledding, you know, because it's so flat. It is flat. Yeah,
38:13
But speaking of location, what's interesting? You know interest? And I'll
38:17
ask you. Apparently originally they wanted to send him over to Europe and go
38:22
to like places like Paris, but it was for Scotland Yard or something like
38:29
that. I think I read somewhere, But would that make any sense?
38:31
It's a Beverly Hills cop. Beverly Hills cop, Like that'd be like right
38:36
London Scotland Yard cop. Like if you're doing that and you're kind of like
38:39
anthologizing it where he just goes to other like I'm like, okay, but
38:44
half the joke, the whole joke, is that it's this Detroit police officer
38:50
in Beverly Hills like fish out of water. And I don't I really thought
38:54
that, like at the end of this film, because I haven't seen the
38:58
third one, and I know the fourth one's coming up this year on Netflix.
39:01
I I really thought that he was going to like get a job in
39:05
Beverly Hills at the end of the second one. So I'm just like okay,
39:08
because I was like, how can they stretch that? Like, knowing
39:12
that there's a third one, I was like, how can they stretch it
39:14
to a third story where he's still in Detroit, but yet he about stretching
39:19
It just happens, you know, thank you, mister Wharf. I'm good
39:22
enough to delay your trip back to d Steine to come with us on this
39:25
adventure. It's the same thing, mister Wharf, what the hell are you
39:30
doing here? Well? I was, yeah, never mind, never mind,
39:32
Yeah, we don't care. Well, But I mean the thing is
39:37
that later later action sequels learned at least, like you know, you look
39:40
at Diehard too, and like they just have that brief set up in the
39:43
beginning where it's like, oh, you work in la now right, Oh
39:45
that's right, I transferred and let's move forward and just have this time's adventure,
39:50
so you know, I okay. Now is the point in the story
39:55
where I talk about how I used to work for the Scots. So I
40:00
used to work for Ridley Scott. Mainly worked with Ridley Scott, and I
40:04
did do some stuff for Tony Scott, and I actually got to meet While
40:07
I never got to meet Ridley Scott because he was shooting in location the entire
40:12
time I was working for his company, I did get to meet Tony Scott,
40:15
and it was thrilling, to say the least. It was awesome to
40:21
meet one of your film heroes. And one thing that really surprised me is
40:27
how small of a man he was. Like he's like I looked it up
40:31
before we started recording and had said that he was five seven, and I
40:37
was like, that's not true. Like maybe in the eighties he was five
40:38
seven, but when I met him in like two thousand and seven or eight
40:45
or somewhere around in there, he was not five seven. But the only
40:49
reason why I'm bringing this up is because, according to rumors, he had
40:52
an affair with Brigitte Nielsen during the filming of this movie. Brigitte Nielsen is
40:59
six' one. I just want to say, that's an interesting pairing,
41:02
and it was, uh it makes me laugh. Was wait, was she
41:07
married to stallone yet by that or was she connected with I was just looking
41:10
that and there was actually looking that up. She I had already looked it
41:14
up. So eighty three to eighty four was Casper Winding slone was eighty five
41:22
to eighty seven, so she would have if this was eighty four is right
41:25
before stallone? No, this was this was filming in eighty six. Yeah,
41:30
this is okay. So this so she was married to Stallone at this
41:32
time or probably they were on the outspe braided. Yeah, yeah, I'm
41:38
willing to bet. But either way, you know what, I just wanted
41:43
to I just wanted to bring that up because it was It just made me
41:45
laugh because I don't know why. I just she's so tall and he's so
41:50
small. Well she was, she was, you know what. Let's talk
41:52
about that though. Do you do you think that she is an effective of
42:00
screen villain for this. Yes, Okay, yeah, no, I definitely
42:07
think so. Like I said, I I kind of wanted her to be
42:08
the big bad where she's pulling in the strings. I think, I totally
42:13
she has the charisma, she has the haircut, she's got it all.
42:17
Yeah. Well, I think that she she is a very effective villain.
42:23
I agree with you, Darren and Tristan that if she had been the main
42:28
villain, Like I always forget in the years between watching Beverly Hills Cop two,
42:34
whenever I do revisit it, I always think she is the main villain.
42:37
I forget Jurgen proc Nows in it until I watch the credits and I'm
42:40
like, oh right, yeah, oh and Dean Stockwell's in it too.
42:44
Yeah, Like they're supposed to be the heads of the franchise, and I'm
42:46
like, I've rather even in this. But I like, again, I
42:52
still think that the screenplay has is a bit of a mess. And the
42:58
whole reason I'm shifting over to screen you know, as we're going deeper into
43:01
the conversation here, is because one of the co writers on the screenplay,
43:06
one of the credited co writers is Warren Scarin, who went on to write
43:10
phil Iadore nineteen eighty nine's Batman. He helped write it with Sam Ham.
43:17
Do you and I, you know, I just want to acknowledge his career
43:22
because it was very brief, because he died of bone cancer in nineteen ninety
43:28
looking at Beverly Hills, cop too and Tristane'll toss this to you because we're
43:30
both very diehard Batman fans. Do you detect anything in this screenplay, whether
43:37
it's dialogue, whether it's action, anything like that that you could look at
43:43
this and say, oh, I could see where the screenwriter who worked on
43:45
Batman or even Beetlejuice was in here anywhere? Or do you think that this
43:50
is just one of those ones where it's like he happened to be in the
43:52
room and it is what it is. But this isn't anything where he leaves
43:58
a specific fingerprint. This this felt like a camel to me, Like this
44:02
script felt like a camel where like everyone took a piece and put it together.
44:07
That this was when I watched it. My suspicions were confirmed when I
44:12
did research after the fact, figuring out like how many versions of the script
44:15
there were and how many you know, like how many variations and how many
44:22
ideas were thrown around, which I mean, which is not uncommon. It's
44:25
not uncommon at all, Like most people have no idea how many revisions and
44:31
complete rewrites that movies go through. And sometimes like people are hired to write
44:38
a film knowing that not a single word of theirs is going to make it
44:43
in the final script because they're just like, oh no, you're just you're
44:45
just writing something for the real writer to work off of, like to bounce,
44:50
like to to give them to think about something. It's crazy. But
44:52
anyway, I digress. No, I to answer your question, I don't.
44:57
I really don't. I think that's a very interesting question and I'd love
45:00
to know if you have an answer, But I don't see it this.
45:04
This feels like a situation where it's just an amalgamation of thought and ideas that
45:08
we're put together. And then you have Eddie Murphy riffing. So there's so
45:13
much riffing and improv in this that it's it's hard to pinpoint on any specific
45:16
specifically feel the riffing, Like you can tell, like like the vitamin scene,
45:21
like that is that is riffing. I can tell that it's not like
45:24
it obviously has a structure, and it's not like he just decided to walk
45:30
in and say, oh, what if we went over to this girl at
45:31
this desk. No, Like, obviously that's played like him and Gottfried,
45:36
you could tell yes, or him and Rock. The Chris Rock scene very
45:39
much feels like Eddie Murphy giving a guy he sees, you know, a
45:44
fellow comic he sees has talent, wants to give the guy a break,
45:47
and he's like, Okay, I'll give you a scene in the movie,
45:50
and we're just going to play it fast and loose. Just follow my lead.
45:52
We're just going to go through it here. But in terms of the
45:55
scripting, no, I obviously have nothing to elaborate from what you're saying,
46:01
Tristan, But I I just it's I can only imagine the reality in which
46:07
Warren Scaron's career continued because three movies Batman, Beetlejuice in Beverly Hills, Cop
46:15
Two are on his resume out of four. There are so many screenwriters that
46:21
would give up a limb for the sake of having three massive calling card hits
46:28
anywhere on their resume, and this guy Boom is tied with three movies that
46:35
helped define the decade, Like it's pretty crazy. It's pretty crazy. I
46:39
mean, speaking back on Chris Rock, he loves Beverly Hills. He was
46:44
at Beverly Hills Cop two and Beverly Hills Ninja. There you Go, There
46:49
you Go. I know that we talked about riffing a little bit ago,
46:53
like probably one of my favorite scenes of Eddie Murphy being Eddie Murphy. I
47:00
know we touched on this earlier in the conversation about like when you want.
47:04
I really liked that I watched one and two virtually back to back because the
47:08
confidence and swagger that Murphy has in two, it's so it's so noticeable compared
47:15
to one. Like in one, you know, like he has that youthful
47:19
vigor of like, you know, like I'm the new guy on the block
47:22
and like I'm not forced to be reckoned with. But in two it's much
47:24
more refined. It's much more I'm here, I'm trying to bounce out of
47:28
it. I'm trying to pop off the screen. But that scene when he
47:31
he just finds out that Ronnie Cox has been shot and then like he's he's
47:37
in the suit, he has the Ferrari and then he sees the guy from
47:39
the cigarette heist or like from the cigarette scene in the first one, and
47:43
he tells him like he's like I used to be a Muslim, you know,
47:45
like I can smell pork like you know this, this guy's a cop.
47:47
I friggin love that scene and the thing that he did with his voice
47:51
during that scene. All I could hear was donkey. That's all I could
47:55
hear. Yeah. Yeah, Like at any second, I thought he was
47:59
gonna like fust He's talking right now, right exactly Like at any thought,
48:02
at any moment, I thought he was going to say, you know,
48:05
pafay is maybe the most delicious thing on the whole damn planet. I'm gonna
48:08
make us some pancakes. This man is a pofey salesman. He sales pafays
48:13
and I eat them. Yeah, but yeah, I I I really like
48:16
those moments, uh specific specifically that one. Now the obviously the first Beverly
48:22
Hills cop. There were a lot of hit songs featured in it, so,
48:28
uh, you know, we love talking music. Hair Faltermeyer comes back
48:31
for the score and we have another hit soundtrack. What did you think of
48:38
the music, Darren? Did you think that the score lived up to what
48:44
Tony Scott delivers. I'm sorry, I'm sorry. That's okay, it's fitting.
48:52
It's fitting. It's okay now, uh yeah, No, its soundtrack
48:54
was good. It's you know, it's an eighties soundtrack. It's got its
48:58
memorable line. You know, it's got over and under, you know,
49:04
the driving around. It's not like you hear the main theme every single time,
49:07
but you know it's mixed in there as Okay, it's like eighty percent
49:10
mixed in in most most scenes. But yeah, I mean, you know
49:15
nothing, I'm not gonna go out. I don't think it's missing anything that
49:21
the first soundtrack has, Like you could just listen to it and he's got
49:24
the or just buy the theme, just buy the main theme. Just listen
49:29
to it and repeat. You're good, you're covered. Just insert that to
49:31
any scene. Well. A big breakout song from this was Bob Seeger with
49:36
Shakedown, but there's also a very landmark eighties song I Want Your Sex by
49:43
George Michael. This is the soundtrack where it breaks out. It won the
49:47
Golden Razzie for Worst Original Song, but went on to be a massive hit
49:53
in the nineteen eighties, which is just the Golden Raspberry Awards have always been
50:00
just a fun exercise in I just weird, weird senses of humor. I
50:06
just I've never understood them. But like, I don't know how you listen
50:09
to that song and you're like, that's the worst original song I've heard,
50:12
and it's like, oh, okay, all right, that's fine. But
50:15
you know, Tristan, you know I love talking music. So that's why
50:20
I went down the rabbit hole. Is there anything that jumped out for you
50:22
here that was like special or memorable? No? I hate the music in
50:27
both one and two. It was so annoying. I just I no,
50:32
I have nothing good to say about it. It made my eyes roll almost
50:37
constantly. I was like, man, this is bad. This is so
50:40
bad. Like even for the eighties it felt bad. Just not a synth
50:44
guy, huh, just don't know. It wasn't even the sinth, It
50:46
wasn't even the score. It was the use of popular music that really that
50:51
really killed it for me. That's fair, Like I can deal with the
50:53
sense since score, not as much as you can. You have a much
50:58
higher tolerance than I do for synthesized music. But no, that's not that's
51:02
not what bugged me, Like, I love the theme, I thought that
51:04
was fun, but no, just the constant pop music that just felt like
51:09
it didn't fit. And maybe I'm maybe I'm blending one and two in my
51:14
brain with the music. I'm not quite sure, because one was definitely much
51:16
more heinous than the second when it came to pop music. Oh, I
51:21
disagree with that because simply because the first movie has neutron Dance, which is
51:28
one of my eighties favorites, and therefore it's excellent in my book. Also,
51:32
I want to go on a tangent right now, and I just want
51:35
to out myself because I know we like to be ky. I didn't like
51:37
the first one at all, and I really liked this one. I did.
51:42
I the first one was so effing boring. I just, I just
51:45
I just couldn't handle it. It was just them driving around and going from
51:50
point to point B to point C to point D. It's just them driving
51:53
and driving and driving and going up to the front of buildings, going into
51:59
buildings, going out of the buildings, going into the car, driving to
52:02
the next location, going to another front of the building and walk. I
52:07
don't get it. I don't get it. Well, we'll save that for
52:10
our examination of the works of Martin Brest, which I would like to do.
52:15
Just spoil that one already, as would I. Actually, guy has
52:19
a very impressive filmography, but you've tipped your hand about how you feel about
52:24
Beverly Hills Cop and Beverly Hills Cop too. With that, Tristan, let's
52:29
go to Darren first for your rating. Your final rating. Always go to
52:32
Darren first. I love that this has become a thing. It's a must
52:37
already tradition. And then I called it out and now you're like making it
52:42
a thing. Yeah, yes, this is great. No. I enjoyed
52:50
talking about it because it was. It was a fun discussion on like this
52:57
is just an interesting analysis of a sequel because it's like right in the heart
53:01
of like sequels, and nowadays like sequels mean something totally different, like in
53:07
the seventies, think cools were very different. So we all agree that,
53:12
like it made so much money, it had to be made, like unless
53:15
you're unless Eddie movie died in a plane crash between the first movie and this
53:22
like the only reason it would have been made. But yeah, but like
53:27
I said before at the beginning, it had enough action and stuff like that
53:30
to kind of keep me interested. I'm not the biggest Eddie Murphy fan,
53:36
not that I don't enjoy his work and and things like that, but I'm
53:39
just not like, oh man, I own all his works and every you
53:44
know, maybe if this movie had been you know, how many words?
53:49
What's that movie where he every word he says is like his last thousand words
53:53
or something like that. You remember that one? Yeah, no, don't
53:57
remember that one. Well, it wasn't good. It was I don't even
54:00
see him. But it's it's like he gets cursed and there's like he has
54:04
like a thousand words left, and everywhere he says like a little leaf falls
54:07
off a tree and he learns the value of listening. And it's kind of
54:12
like yes, yes, man. But anyway, all that to say,
54:16
I'm gonna give it. I'm going to give it a solid three. Enjoyable.
54:22
You know, I every once in a while probably get the inkling to
54:25
like rewatch the Beverver Hills Cops movies, you know, because they're they're in
54:30
a they're enjoyable in the fact that like you're kind of seeing this slice of
54:35
eighties film and action. You know, it's I've come to notice more that
54:40
distinctiveness, especially compared to modern film, Like modern film has become such a
54:46
thing that you look back at the greats like Tony Scott and others and the
54:52
stuff that they're doing, and you're like, man, just the way they
54:55
put that together, the way they shot it, the way they community kid
55:00
information. Like you're starting, I'm starting to notice enough of a gap of
55:05
how that was presented in the eighties versus the nineties versus now that sometimes that's
55:09
enough to watch something again and kind of enjoy just how it's telling it.
55:16
I just won't go back to shaky cam era. That was the worst.
55:20
That was so bad. That was a tough time. I was, oh,
55:23
man, that those Jason Bourne movies. Oh green Grass, I blame
55:28
every time shaky cam comes up in a movie, I blame green Grass.
55:31
Just start to scream to the heavens and tear my shirt. It's like,
55:37
you know, we have this thing called the stead of cam. You know
55:38
what if we just turned it off. Well, we've gotten Darren's take on
55:44
Beverly Hills cop to First and Form, But before we go to Tristan,
55:50
I'll take a swipe at this and give my own rating. And I will
55:52
say that in any other director's hands, this mess of a script would get
55:58
a one star for me, because this is just it's really just a mess.
56:02
It's really such a cash grab. And there are so many things where
56:07
you give the highest rating of the three of us. I swear, oh
56:09
no, I'm never going to go first again. But no, we already
56:15
know that Tristan's going to give this a five. So I will keep a
56:19
reality check here with you, Darren, and I will say that right now,
56:23
I wrestle with it, but I'm going to land on a three.
56:28
I'm somewhere between a two and a half and a three, but I'll land
56:31
on a three simply because Tony Scott could direct a story about someone walking their
56:39
dog and it's an hour and a half of them walking their dog and talking
56:44
on a cell phone, and I would still be like, Wow, look
56:46
at the way he shot that. That's really interesting. I really like the
56:50
way that he brought the energy to the scene. And boy smogs out of
56:52
control in La But we're both in with a three. Tristan, why did
56:58
you give this a five? It's so funny. I really thought it was
57:04
gonna the way that we were talking about it. I mean, like we
57:07
all had really good things to say, and you know, like none of
57:10
us were really dogging on it. You know, like I think we all
57:13
had some some valid criticisms. And even though I really liked this one,
57:19
I'm giving it a three and a half, you know, like that's I'm
57:22
really three and a half seven dollars cokes slash blowjobs, like that's that's what
57:28
I'm giving this this movie. And that's more than nineteen dollars in twenty twenty
57:34
three money, I know. I yeah, I think I I'm realistic about
57:38
this film. It's not perfect. I think it's a great eighties film.
57:42
I think it's a great action film. I think it's funny. It made
57:44
me laugh out like this. The only reason why I, you know,
57:45
made that crass joke was was about the seven dollars thing, because I laughed
57:50
so hard at Murphy's delivery that There's so many times I laughed out loud during
57:54
this movie and was just smiling. And I think I probably if I didn't
58:01
watch it back to back, like if I didn't watch the first one,
58:05
is to say that I just went to the second one. I think because
58:08
I didn't like the first one so much that the second one felt like a
58:13
breath fresh air to me. And I know, I know, I know
58:15
I'm in the minority. I know that. Like I went online and like,
58:19
I'm sure that people are listening to this thinking I'm absolutely crazy. That's
58:22
fine, that's fine to think that. But I really enjoyed it. I
58:28
thought it was a lot of fun. But this isn't like, like,
58:30
oh my god, this is four and a half, this is five.
58:32
This is not even a four star film. It's yeh, three and a
58:35
half. It's I think this is a solid movie. Three and a half
58:37
is a respectable score, especially for an eighties action film. It sure is,
58:42
And it sets us up to go to the movie that I haven't watched
58:45
in years, but I have often referred to as the real lethal weapon.
58:50
Two. When next week, Darren, what are we going to look at
58:53
in the House of Scott, Oh, Next week, we're jumping to nineteen
58:58
ninety one with the Last Boy Scout here on house Lights. Join the Revolution,
59:05
Join the nerd Party.