Beverly Hills Cop III (1994): What the Heck Happened?

<v Speaker 1>Hey, this is Doug Huggin, Jason's college roommate and longtime listener,
<v Speaker 1>getting ready for another epic episode of Shirley You Can't
<v Speaker 1>Be Serious? Talk to me goose.
<v Speaker 2>So then after I was mugged and beaten before they left,
<v Speaker 2>they kicked me in the balls, and I thought to
<v Speaker 2>myself as I watched this movie, Wow, that situation was
<v Speaker 2>almost as bad as this.
<v Speaker 1>He are you in a coffee break?
<v Speaker 3>Now, let's podcast this mf R.
<v Speaker 2>Hello everybody, and welcome back to the Shure That You
<v Speaker 2>Can't Be Serious podcast, where we are joined by our
<v Speaker 2>friend Graciou's co host Jeff Johnson from the Film By podcast. Jeff,
<v Speaker 2>how you doing, man.
<v Speaker 1>I'll tell you how I'm doing. I'm not exactly burning
<v Speaker 1>doing a neutron dance today. I know what's on the docket.
<v Speaker 3>We are going to have to really work hard to
<v Speaker 3>discuss the good points of Beverly Hills Cop three, the
<v Speaker 3>movie that we're breaking down today.
<v Speaker 2>So guys, we're back again. This is part two of
<v Speaker 2>our what the heck Happened for twenty twenty four season.
<v Speaker 2>We've done these a few times. We compared Jaws The
<v Speaker 2>Revenge to Superman four. We compared Last Action Hero to
<v Speaker 2>Alien three. This is where we cover movies that are
<v Speaker 2>not good, and we asked the big question, what the
<v Speaker 2>heck happened? And never has the question been so immediate
<v Speaker 2>in my mind as with this particular movie. Now, last
<v Speaker 2>week we covered Jaws three D. If you've got to
<v Speaker 2>see the three D Jaws three, if you did unfortunate
<v Speaker 2>not to see that. Today we're talking about Beverly Hills
<v Speaker 2>Cop three. And I had not seen Beverly Hills Cop
<v Speaker 2>three as we concluded our last episode, and now I have,
<v Speaker 2>and you guys had assured me that it was going
<v Speaker 2>to be worse than Jaws three, which at that particular
<v Speaker 2>time I had a very very difficult time believing. But
<v Speaker 2>let's get into it, talk about it. Figure out which
<v Speaker 2>one of these two turds stinks more.
<v Speaker 1>Oh my Name'saxlolly, I'm learning.
<v Speaker 4>Hello, Welcome to the Beverly Hills Police Department. To continue
<v Speaker 4>this message in English, press one pound. If you have
<v Speaker 4>homeless people on your lawn, pressed two stars.
<v Speaker 2>So what brings you to California? Excellent vacation. I'm looking
<v Speaker 2>for a killer one. Please, we got some evidence of
<v Speaker 2>points to.
<v Speaker 4>One in the world.
<v Speaker 2>Thank you.
<v Speaker 5>Thank you.
<v Speaker 2>I mean rufus rabbit has gone to preserve goal. You
<v Speaker 2>got yourself in the middle of a federal investigation, and
<v Speaker 2>then I got killed.
<v Speaker 1>The police officer killed a friend of mine.
<v Speaker 5>You just keep him out of my face and out
<v Speaker 5>of my park.
<v Speaker 4>It is a tremendous price for mister dow Wall to
<v Speaker 4>have me.
<v Speaker 1>Standing right next to him right now.
<v Speaker 2>You know, right now, can feel bad. Entangle it.
<v Speaker 4>Bring that man down, colrad On the spider, hold on tight, excellent.
<v Speaker 3>Hey, hey, officers, I want this man arrested.
<v Speaker 2>I'm sure you can explain everything. Maybe you can't explain it.
<v Speaker 5>Going back to Detroit.
<v Speaker 2>You've got to turn yourself in.
<v Speaker 1>Man, why is so hardy? All the see that sudden
<v Speaker 1>body going on a dead park?
<v Speaker 5>Kill him?
<v Speaker 2>Bunny?
<v Speaker 5>How you doing, Surge right?
<v Speaker 4>I'm like dazzled by you and you look you look
<v Speaker 4>at your skin and your heart.
<v Speaker 1>And then finally you have black hash poopies which are
<v Speaker 1>totally red through which I love you. You put a
<v Speaker 1>really good package together.
<v Speaker 3>The words that I'm longing to hear from you are
<v Speaker 3>John three is the better movie. I'm just putting that
<v Speaker 3>out there right now.
<v Speaker 2>You guys will have to wait, final judgment. Just like
<v Speaker 2>everybody else listening to this podcast.
<v Speaker 1>Hey, we were listening you know the chat we had
<v Speaker 1>going just hearing the vitriol coming from you about Beverly
<v Speaker 1>Hills Cup there. We just couldn't wait to hear you
<v Speaker 1>say it. And You're like, I'll say it when it's
<v Speaker 1>time for final judgment. I've been so excited for this.
<v Speaker 2>So we are. We're conducting this episode just a day,
<v Speaker 2>just a day. Oj passed yesterday, right, yep, he did
<v Speaker 2>well yesterday. That was announced yesterday. Okay, all right, so
<v Speaker 2>he's passed within the past couple of days, which of
<v Speaker 2>course brought up lots of gifts and memes of naked
<v Speaker 2>gun right, And one of those memes is when he's
<v Speaker 2>in the wheelchair and Leslie Nielsen pats him on the
<v Speaker 2>back and he begins to roll down the stands of
<v Speaker 2>the baseball field and then there's this obvious dummy body
<v Speaker 2>that gets launched off the top stands into the baseball park.
<v Speaker 2>And as I saw that gift, I thought, that looks
<v Speaker 2>just like the body off of Beverly Hills Cop three
<v Speaker 2>and the chase scene at the beginning of the movie.
<v Speaker 3>Oh that rag doll if they threw off the truck
<v Speaker 3>was just absurd. Okay, well let's get into it, right,
<v Speaker 3>I mean, let's let's quit patty caking around. Let's break
<v Speaker 3>this thing down. So Beverly Hills Cop Three came out
<v Speaker 3>in nineteen ninety four. It was the third in a trilogy.
<v Speaker 3>But it appears that part four is coming out sometime
<v Speaker 3>this summer, I believe. On Netflix we saw the trailer
<v Speaker 3>for it. Heay, it looks pretty good, right, it looks good.
<v Speaker 2>I'm back on board. I'm not willing to say it
<v Speaker 2>looks good. I'm willing to say that it has potential
<v Speaker 2>to be good. They definitely have got some action in
<v Speaker 2>there that was sorely missing from the Beverly Hills Cop
<v Speaker 2>three movie. As far as the comedy goes, it was
<v Speaker 2>a swing and a miss, as on the trailer. But
<v Speaker 2>maybe they're saving the best in the movie. Trying not
<v Speaker 2>to do spoilers, but I'm holding out judgment till I
<v Speaker 2>see it.
<v Speaker 3>It looks similar to Beverly Hills Cop two where they lean.
<v Speaker 2>D is not going to be happy.
<v Speaker 1>Yeah, well yeah, but you and I liked it, right, Yeah,
<v Speaker 1>it's the sophomore goggles. You gotta have them on you
<v Speaker 1>know we were teena It had everything that a teenager wanted.
<v Speaker 1>And I agree with you. I feel like four is
<v Speaker 1>maybe a call back to number two.
<v Speaker 2>I agree. Okay, Jeff, I got a question for you.
<v Speaker 3>Yes, I'm pitching a movie to you in the summer
<v Speaker 3>of nineteen ninety three. All right, mister big producer, Jeff Johnson,
<v Speaker 3>this is what I got for you. I got the
<v Speaker 3>third in a very successful trilogy, one of the biggest
<v Speaker 3>movies of nineteen eighty four, which may have been one
<v Speaker 3>of the best years for movies ever. We've got Eddie
<v Speaker 3>Murphy in the starring role. We've got John Landis secured
<v Speaker 3>as the director. Yes, and we've got the writer of
<v Speaker 3>die Hard.
<v Speaker 2>And forty eight Hours and forty eight Hours and The
<v Speaker 2>Six Million Dollar Man. Let's let's mention the good movies.
<v Speaker 3>He's written the script. John Landis is directing. Oh, by
<v Speaker 3>the way, he directed Eddie Murphy in some of his
<v Speaker 3>biggest hits, Trading Places and Coming to America. You think
<v Speaker 3>you green light, and that's when you feel good about it.
<v Speaker 1>This is an easy green light because I always see
<v Speaker 1>his box office gold. This is gonna be like one
<v Speaker 1>of the number one movies of the summer.
<v Speaker 2>Well, they did enlighted it is they and they said,
<v Speaker 2>we'll give you twenty five million.
<v Speaker 3>Dollars and twenty three of it goes to Eddiemurrihy.
<v Speaker 2>Right, no, but but fifteen So just even in nineteen
<v Speaker 2>ninety three money, can you imagine being presented with what
<v Speaker 2>you've just stated and say we'll give you less than
<v Speaker 2>double what we're going to pay the star of the
<v Speaker 2>movie to make your movie. You've got ten million dollars
<v Speaker 2>to make a movie? Would you be pissed? I would
<v Speaker 2>be Emil Gibson throwing the ashtray into the wall, like
<v Speaker 2>what what what are you telling me? Twenty five? Do
<v Speaker 2>you do? You know the history of this franchise? Even
<v Speaker 2>Part two, which really wasn't that good, made millions. How
<v Speaker 2>are you not throwing money at this? Well, there were
<v Speaker 2>a few things. Number one, Eddie had been in a
<v Speaker 2>handful three really three movies that were subpar. Now a
<v Speaker 2>couple of those have gained some cult following since that time.
<v Speaker 2>But Harlem Knights was not a big deliver. Boomerang was
<v Speaker 2>not a big deliver, and the Distinguished Gentleman was a bomb.
<v Speaker 2>I saw Distinguished Gentleman in the theater. I remember seeing
<v Speaker 2>it in the theater. I didn't hate it, but I
<v Speaker 2>was also like, yeah, yeah, I was. I was a teenager,
<v Speaker 2>so it's fine.
<v Speaker 1>I didn't have a choice. I had to see that
<v Speaker 1>because he's playing a character named Jeff Johnson.
<v Speaker 3>Right, so.
<v Speaker 1>Imagine, imagine my heartbreak. Well, this is an Eddie Murphy
<v Speaker 1>movie with my name on it, and it's it's not good.
<v Speaker 3>Let's be honest for a second. The movies that Eddie
<v Speaker 3>has made since nineteen ninety, which of them are really good?
<v Speaker 3>Name me a great Eddie Murphy movie. Since okay, I
<v Speaker 3>won't name you.
<v Speaker 1>I won't. We can't name a great one. But Jason,
<v Speaker 1>you and I discussed The Nutty Professor, which was ninety six.
<v Speaker 3>That's probably the biggest one.
<v Speaker 2>It's the only one. It's probably the biggest box office.
<v Speaker 2>He got an Oscar nod for dream Girls. I can't
<v Speaker 2>remember fair I've seen scenes from it. I have not
<v Speaker 2>seen the movie, but the scenes that I've seen him like, oh,
<v Speaker 2>Eddie can do some serious acting, and it was. It
<v Speaker 2>was decent. And part of the problem with this is
<v Speaker 2>that he had seen what Denzel Washington and Wesley Snipes
<v Speaker 2>were doing and he was like, I don't want to
<v Speaker 2>only be the comedy guy. I want to have some
<v Speaker 2>seriousness in this role. He also still had the infamous
<v Speaker 2>entourage that went with him everywhere that had gotten a
<v Speaker 2>bad reputation in Hollywood at that point. So you got
<v Speaker 2>three stinker movies and you have a bad rep It
<v Speaker 2>seems to me that the answer in that equation is
<v Speaker 2>don't give him fifteen million dollars. Say let's do this movie,
<v Speaker 2>but you need to take a pay cut and we
<v Speaker 2>need to devote more to the production of the movie.
<v Speaker 1>You're absolutely right, he's in a slump at this point.
<v Speaker 1>If anything, Paramount should be saying like, look, we'll rebuild you.
<v Speaker 1>You know, let's let's bring it back, but we want
<v Speaker 1>to cover our bases here. We got to you know,
<v Speaker 1>fifteen million. No, we're happy to give you nine.
<v Speaker 3>So here's the deal. I saw him interviewed on the R.
<v Speaker 3>Ceneel Hall Show, his buddy Arseniel Hall, and he said
<v Speaker 3>he was done with the axle Folly character. And he said,
<v Speaker 3>I don't really need the money. I think the character
<v Speaker 3>has run its course. I don't think a small cardellic
<v Speaker 3>cop in his mid thirties is a great character, he said,
<v Speaker 3>So if you see me in a Beverly Hills cop
<v Speaker 3>Part three, you can know that they threw a ton
<v Speaker 3>of cash by direction.
<v Speaker 2>And here we are, No, we did that, they did?
<v Speaker 4>Ye?
<v Speaker 2>Yeah?
<v Speaker 3>Okay, So the plot of this movie is Axel. I mean,
<v Speaker 3>the plot is a little thin here, but silk is
<v Speaker 3>a little thin. He's investigating these guys who are transporting
<v Speaker 3>arms from a government agency and they're wrapped in Wonderworld
<v Speaker 3>towels and that's how we get transported to California.
<v Speaker 2>Is that what's happening. I don't think that's what happened.
<v Speaker 3>They pulled them out of the towels and said wonder World.
<v Speaker 2>Right, But if this had been a gun running movie,
<v Speaker 2>you got a relatively interesting action movie. Didn't it end
<v Speaker 2>up being counterfeit money? Isn't that what the big pack
<v Speaker 2>off was? That's true, the most boring crime and in
<v Speaker 2>the world.
<v Speaker 1>And if we're talking about what brings Axel fully back
<v Speaker 1>to Beverly Hills, let's be honest, it's the same thing
<v Speaker 1>that always brings him back to Beverly Hills. Someone has
<v Speaker 1>shot one of his close friends and he's you know,
<v Speaker 1>we've seen in the first one, then then he had
<v Speaker 1>to go back in the second one because Bogomo got shot.
<v Speaker 1>Now it's Specter Todd. You know, g Todd is how
<v Speaker 1>I've always known him. But you know, his widow's calling
<v Speaker 1>him Douglas. So I don't know what's going on here
<v Speaker 1>but to Todd. Now Todd's dead and he's got to go.
<v Speaker 1>You know, he doesn't care if the government he's going
<v Speaker 1>to find out who Todd's killer is.
<v Speaker 2>Yeah, that's right.
<v Speaker 3>And the actor who plays Todd, we talked about how
<v Speaker 3>he did a good job in a small part in
<v Speaker 3>part one. In part two they asked him to do
<v Speaker 3>a little bit out of his comfort range.
<v Speaker 2>I would say in this one, he needs to be
<v Speaker 2>yelling in the office. He doesn't need to be going
<v Speaker 2>in with a gun with the bad guys in a warehouse.
<v Speaker 1>He also needs to not be neutered. Because I love Todd.
<v Speaker 1>In the first Beverly Hills Cop, he's loud, he's harsh.
<v Speaker 1>I'm afraid of him, right right, he is the boss
<v Speaker 1>that you don't want to piss off. And the second
<v Speaker 1>one we start taking some leniencies with him. You know,
<v Speaker 1>he's Axule's doing a lot of stuff and he's like, ah,
<v Speaker 1>your butt's on the line here, Axel this one. He's
<v Speaker 1>just like, hey, uh you called off swat. Well, look,
<v Speaker 1>I'm just here to observe. So right, I'm just gonna
<v Speaker 1>stand up here, and you're Inspector Todd, Right, what are
<v Speaker 1>you observing? I don't get it.
<v Speaker 2>So I legitimate, I legitimately want to talk to you, guys.
<v Speaker 2>I want to try to figure out the real answer
<v Speaker 2>to the question, what the heck happened with this movie? Okay, because,
<v Speaker 2>as we've pointed out, you have a world class star,
<v Speaker 2>although he had had three bad movies, but every actor
<v Speaker 2>in the world has had a few bad movies from
<v Speaker 2>time to time. That doesn't mean that that when you
<v Speaker 2>bring a character that's been established in a franchise, that
<v Speaker 2>that one's going to be bad. They had gone through
<v Speaker 2>some problems, right when when the studio said we'll give
<v Speaker 2>you twenty five million dollars, the first drops off the
<v Speaker 2>list are Simpson and Bruckheimer. They're like, screw you, guys,
<v Speaker 2>We're not going to be a part of this. Right's ridiculous.
<v Speaker 2>And they have every right to say that. They are
<v Speaker 2>still producing incredible movies at this point, and this is
<v Speaker 2>a slap in the face, so good for them for
<v Speaker 2>getting out. Joel Silver comes in and he's like, I
<v Speaker 2>can do this. I can save this movie. I need
<v Speaker 2>seventy million dollars. No, I need fifty five million dollars,
<v Speaker 2>like double your budget, and I can do this for you.
<v Speaker 2>The guy who's brought us the lethal weapons, the predators,
<v Speaker 2>I mean Diehard, all of that stuff. I mean him
<v Speaker 2>and Desusa together, perfect combination, that's right. And they say no,
<v Speaker 2>and he's, well, you know, we'll give you thirty and
<v Speaker 2>he says, screw you, guys. You don't have any idea
<v Speaker 2>what you're doing. And he leaves. So they've knocked off
<v Speaker 2>three of the best producers in the world at that time.
<v Speaker 2>They go through several scriptory rites before they ever get
<v Speaker 2>to Desusa. But I mean, still, you've got a top
<v Speaker 2>notch writer, you have a big time star and a
<v Speaker 2>big time franchise, and I just want to I want
<v Speaker 2>to list for you in a row what Landis is doing. Okay,
<v Speaker 2>you guys ready for this. Yeah, I'll even throw in
<v Speaker 2>I'll throw in the Kentucky Fred movie. Right, we won't
<v Speaker 2>throw in his very first extremely low budget schlock movie.
<v Speaker 2>You will exclude that one, all right, So here we
<v Speaker 2>are in order, just the movies, not gonna mention videos
<v Speaker 2>or any other jazz Kentucky Fried movie, National Lampoon's Animal House,
<v Speaker 2>The Blues Brothers, American Werewolf in London, Trading Places, Twilight Zone,
<v Speaker 2>Michael Jackson's thriller Into the Night, Spies Like Us, the
<v Speaker 2>Three Amigo's, Amazon, Women on the Moon, and Coming to America.
<v Speaker 2>That man was Midas in the areas. He did not
<v Speaker 2>make a Badger movie, So how the heck did this happen?
<v Speaker 1>I feel like one of the big problems here is
<v Speaker 1>that your star is making one kind of movie and
<v Speaker 1>your director is making another kind of movie. You know,
<v Speaker 1>you mentioned that, you know, no one wants to see
<v Speaker 1>the thirty year old sarcastic cop, and he wants to
<v Speaker 1>be a little more serious. He wants to show some range.
<v Speaker 1>He really wants to do like a serious cop action film,
<v Speaker 1>and he doesn't want the shenanigans that he's already been doing. However, ladist,
<v Speaker 1>that's exactly what he wants. That's what Paramount wants. That's
<v Speaker 1>what everybody wants. We want axel Fully to be axle Fully,
<v Speaker 1>and Eddie has had having a hard time with this,
<v Speaker 1>and you see it in his performance. He is It's
<v Speaker 1>not the accel folly that we fell in love with.
<v Speaker 3>In nineteen eighty four, I heard John Landis say that
<v Speaker 3>he thought Eddie Murphy sabotaged the movie. He was intentionally
<v Speaker 3>choosing to not be funny in the funny parts.
<v Speaker 2>I'm not gonna say that he's choosing not to be funny.
<v Speaker 2>I'm gonna say making this movie as the farcical comedy
<v Speaker 2>that John Landis was making was the wrong choice. Maybe
<v Speaker 2>Eddie didn't want to do what John Landis was doing,
<v Speaker 2>but Eddie was right. He was right. He should have
<v Speaker 2>been more serious what we had at the beginning. I mean,
<v Speaker 2>just think about the beginning of Beverly Hills Cop One.
<v Speaker 2>His buddy comes in there having a good time. It's
<v Speaker 2>a little sad about him getting out of jail and
<v Speaker 2>he's having a hard time, and then he's executed in
<v Speaker 2>the apartment building. I mean, it's horrific. And what you
<v Speaker 2>have is a serious movie with a lead actor who
<v Speaker 2>is funny at times. That's right, which if you think
<v Speaker 2>about Diehard, that is exactly what die Hard is, and
<v Speaker 2>that's what kind of movie. Desuza probably wrote for this,
<v Speaker 2>but then Landis comes in and I started thinking about this. Yes,
<v Speaker 2>everything he touched was gold. But which of those movies
<v Speaker 2>that I listed was an action movie? None?
<v Speaker 1>None, actually zero of them.
<v Speaker 2>The only action that you see in any of those
<v Speaker 2>movies that I can think of. I mean, you've got
<v Speaker 2>the ludicrous end scene of the Three Amigos, of course,
<v Speaker 2>and you've got the ludicrous Spies like Us action, and
<v Speaker 2>you've got the ludicrous Blues Brothers action where the car
<v Speaker 2>flips around and there's the chaos, but it's all of
<v Speaker 2>the action is for comedic effect. There are no action
<v Speaker 2>sequences in any of John Landis's movies that are actually exciting,
<v Speaker 2>which is what action should be bringing to you. You
<v Speaker 2>should be on the edge of your seat. That's the
<v Speaker 2>purpose of action. None of John Landis's movies accomplished that.
<v Speaker 2>What we have instead is OJ Simpson's silly body flying
<v Speaker 2>in the streets, seeing his rubber head get smashed. We
<v Speaker 2>have absurd big bullet holes going into cars. We have
<v Speaker 2>police academy. That's great if that's what the movie should be,
<v Speaker 2>but Beverly Hills cop movies should not be that. That
<v Speaker 2>is not how they were established. That is not what
<v Speaker 2>they should be. You can't take a die hard and
<v Speaker 2>make it into a naked gun.
<v Speaker 1>This movie was doomed from the beginning because we start
<v Speaker 1>off we see Axel. He's laying out the game plan
<v Speaker 1>for the other the other officers. We're going to take
<v Speaker 1>down these guys inside this chop shop. It's looking good,
<v Speaker 1>even though Inspector Todd's like, you know, I'm right, I'm
<v Speaker 1>a shell of my former self. But when you go
<v Speaker 1>inside and you see these arch criminals singing and dancing.
<v Speaker 2>That's it.
<v Speaker 1>I was like, oh what, okay, what We already just
<v Speaker 1>went off the rails and that's like five minutes in.
<v Speaker 2>Oh man, I had blocked that out of my mind.
<v Speaker 2>I had forgotten about that. Oh my gosh, Like that
<v Speaker 2>scene was so long and so painful, buried and my
<v Speaker 2>song was terrible.
<v Speaker 1>The song was terrible. And I bring it up because
<v Speaker 1>you like, like you said, police Academy, We're in a
<v Speaker 1>police Academy movie from this point on.
<v Speaker 3>By the way, did you recognize the lead guy, the
<v Speaker 3>lead chop shop guy.
<v Speaker 1>I recognized him, but I couldn't place him.
<v Speaker 3>He's the bartender in Three Migos. John landis so yeah
<v Speaker 3>and You also have ali On who gets shot, so
<v Speaker 3>you have that weird You get the song and dance number.
<v Speaker 3>Then you have guys who get blown away and killed.
<v Speaker 1>But yet their deaths still.
<v Speaker 3>Seem particle weird, yeah or tun ish. And then you
<v Speaker 3>have the bad guy, who should be Hans Gruber or
<v Speaker 3>Victor Maitland or somebody with real menace looks in the
<v Speaker 3>back of the of the delivery truck or whatever it
<v Speaker 3>is like yes, and he gives that over the time
<v Speaker 3>double fist shed.
<v Speaker 2>That guy sucked car salesman? Why did they have him
<v Speaker 2>play in the villain?
<v Speaker 5>Terrible?
<v Speaker 2>Terrible?
<v Speaker 1>He's terrible? You know what else is terrible?
<v Speaker 2>There? You know?
<v Speaker 1>Because I don't want to lose this before we get
<v Speaker 1>off this scene. Any action movie has to have a
<v Speaker 1>suspension of disbelief a little bit. You look the other
<v Speaker 1>way on some things, but one thing I can't look
<v Speaker 1>away from. From the time Axel steals the red sports
<v Speaker 1>card to tail him the truck with the ludicrous dummy
<v Speaker 1>he fires. I counted to this because I painfully I
<v Speaker 1>watched it twice just to make sure I was my
<v Speaker 1>math was right. He fires thirty two shots from what
<v Speaker 1>looks like a nine milimeter burretta without reloading.
<v Speaker 2>Uh huh, and that's.
<v Speaker 1>I'm not even I'm not even counting the shots that
<v Speaker 1>he fires inside the chop shop or outside the chop shop,
<v Speaker 1>just while he's driving and firing thirty two shots without reloading.
<v Speaker 3>Okay, let's let's backtrap a tad here. Let's talk about
<v Speaker 3>what works before.
<v Speaker 2>We totally dismantle this movie. Lead us off, bro, I
<v Speaker 2>know that you asked me this question like a week ago.
<v Speaker 2>When I watched the movie, I really kept an eye
<v Speaker 2>out for what works in this movie. Okay, I got
<v Speaker 2>nothing nothing, I have zero nothing. Wow.
<v Speaker 3>Wow does the writing work?
<v Speaker 2>Nope? Does the directing work? No?
<v Speaker 3>How about the acting? How about the music?
<v Speaker 2>Negative? Yeah? How at the stunts? Oh well okay yeah,
<v Speaker 2>come on, okay, So let me let me say this,
<v Speaker 2>because there were a couple of times that it went hey,
<v Speaker 2>and then it went or I went what is Well?
<v Speaker 2>That was good, but so one of the times I
<v Speaker 2>was like, hey, it was the cameo of George Lucas.
<v Speaker 2>I'm like, okay, we got at least we got George,
<v Speaker 2>But what a total waste. It wasn't funny. There was
<v Speaker 2>had didn't move the plot along I mean, if you're
<v Speaker 2>gonna have George Lucas in there, have him get shot,
<v Speaker 2>or have him, you know, have him kick somebody's butt,
<v Speaker 2>do something.
<v Speaker 3>Excuse me, Hey, that's not there maintenance.
<v Speaker 5>I gotta go free the chain.
<v Speaker 2>Yeah, jayasam sorry, come on, let's go you know, have
<v Speaker 2>him make a wise crack as he walks through. But
<v Speaker 2>I mean literally, he's like, this sucks, I'm gonna go home.
<v Speaker 2>I mean it was just like what So it didn't
<v Speaker 2>make it to the positive column. And then the stunts.
<v Speaker 2>I was too distracted by the fact that I was going,
<v Speaker 2>why the heck is he doing this? Before I finally went, well,
<v Speaker 2>they got a good stunt guy to do this stuff,
<v Speaker 2>but it's completely pointless. So I can't put that in
<v Speaker 2>the positive call me either.
<v Speaker 3>Okay, So I did write down that George Lucas's cameo
<v Speaker 3>was a positive, but I also agree with you he
<v Speaker 3>did nothing. It would have been funny if he'd have
<v Speaker 3>said something like this place doesn't have a Star Wars ride.
<v Speaker 3>Let's go home? Yeah yeah, poke fun at yourself in some.
<v Speaker 2>Way, Yes, that would have made the positive column for me.
<v Speaker 2>If he'd just said that line right.
<v Speaker 3>There, I'm for hire. I'm ready.
<v Speaker 1>You know, I didn't have George Lucas in what worked
<v Speaker 1>or what didn't work? He was he was Switzerland at
<v Speaker 1>this point. But d just won me over to the
<v Speaker 1>fact that he doesn't work, because just from his performance,
<v Speaker 1>you would assume he's just stopping by the set to
<v Speaker 1>visit Landis maybe, and Landa says, oh, come on, just
<v Speaker 1>jump in front of the camera for a minute, because a
<v Speaker 1>star any kind of Star Wars joke would have been,
<v Speaker 1>or an American graffiti joke, anything would have would have
<v Speaker 1>just killed as opposed to what he did.
<v Speaker 2>Say. Sure, there are no less than five cameos in
<v Speaker 2>this movie. Did you know that I knew about George
<v Speaker 2>Lucas John Singleton's in the movie. I didn't catch him
<v Speaker 2>Joe Daunte.
<v Speaker 1>Single Wait wait director John Singleton, Yeah, I mean I
<v Speaker 1>don't know. I don't know where he is because it
<v Speaker 1>was an absolute waste of a cameo. But literally, like
<v Speaker 1>there are there are a handful of cameos in this movie.
<v Speaker 1>I was able to catch George Lucas and that was it.
<v Speaker 1>The rest of them were even a bigger waste than him.
<v Speaker 1>Why didn't we get a cameo from Taggart or Bogomil.
<v Speaker 2>I can tell you about Bogomil okay, because Cox read
<v Speaker 2>the script and they asked him why he wasn't in
<v Speaker 2>the movie, and he said, because I read the script.
<v Speaker 2>John Ashton was initially on but then had quote unquote
<v Speaker 2>scheduling conflicts and didn't make it. My guess is he
<v Speaker 2>also read the script.
<v Speaker 1>Yeah, while we're on that topic, is it too soon
<v Speaker 1>to talk about what this movie could have been like
<v Speaker 1>based on some of the scripts.
<v Speaker 2>I'm waiting to hear you guys tell me what I missed,
<v Speaker 2>which is what works in the movie.
<v Speaker 3>Jeff, Lets tell us. We'll say that and then what
<v Speaker 3>could have been all Right?
<v Speaker 1>I can feel D's eyes on me here because uh
<v Speaker 1>now he's gonna be like, no, that didn't work. But
<v Speaker 1>for once, I feel that Murphy had had a chance
<v Speaker 1>to have some good chemistry with a female character. And
<v Speaker 1>Teresa Randall I didn't. I did like her. I know
<v Speaker 1>why you're laughing.
<v Speaker 2>You're gettings bringing this up. You know that TIX thread
<v Speaker 2>last night he talks about almost kissing Robin Gibbons and
<v Speaker 2>and Jason's like, except that that's not Robin Gibbons and
<v Speaker 2>He's like what, and I'm like, he's right, that's not
<v Speaker 2>Robin Gibbons, and like, oh my gosh, it's not. It
<v Speaker 2>was the what we call it, the great value.
<v Speaker 1>Yeah, for years, I've always known Robin Gibbons as sitcom
<v Speaker 1>head of the class, Mike Tyson, Beverly Hills, Cop three.
<v Speaker 1>You know, a couple of couple of bad decisions there,
<v Speaker 1>and then you guys are like, next, no, that don't
<v Speaker 1>put this on Robin Gibbons.
<v Speaker 2>Yeah.
<v Speaker 1>No, I did think the chemistry between Folly and you know,
<v Speaker 1>I don't remember Teresa Randall's characters name.
<v Speaker 3>Problem, but yeah, yeah, I liked.
<v Speaker 1>I liked I liked the interactions. And maybe that was
<v Speaker 1>because of Murphy trying not to be the clown and
<v Speaker 1>trying to be a little more Denzel, as as D
<v Speaker 1>was pointing out, But I thought I thought their chemistry
<v Speaker 1>was good. I was. I was buying into it. Another
<v Speaker 1>thing I liked. Uh, you know, we talked about the stunts,
<v Speaker 1>you know, the action. I did enjoy fully going out
<v Speaker 1>on the spider ride and trying to say and you know,
<v Speaker 1>not trying he did he does save the kids as
<v Speaker 1>still ridiculous, obviously, it's it's it's a little more for
<v Speaker 1>fetching him hanging off the back of a truck in
<v Speaker 1>a high speed chase, but it was nice to see
<v Speaker 1>him doing something again.
<v Speaker 3>I'll say, can I jump in on that right there?
<v Speaker 2>Please?
<v Speaker 3>That's on my that's on my good list, right Okay?
<v Speaker 3>Stunts and which we know John Landis has a history
<v Speaker 3>of being a stunt manh yeah, that's a painful. But
<v Speaker 3>the stunts on the Spider were really good, jumping from
<v Speaker 3>car to car, but also totally unnecessary, which we talked about,
<v Speaker 3>and then intermixed with that he's rescuing kids, which he's
<v Speaker 3>one arm holding a piece of rope that's you know,
<v Speaker 3>a quarter of an inch thick.
<v Speaker 2>They would just like slice his.
<v Speaker 3>Hands and a half and then they got into this
<v Speaker 3>predicament because the stupid bad guys are like, bring that
<v Speaker 3>guy down, like he'll be down in thirty seconds.
<v Speaker 1>No, bring him down now now.
<v Speaker 2>Yeah.
<v Speaker 3>So I did think the stunts worked, although it was
<v Speaker 3>ridiculous to get to that point.
<v Speaker 2>I diep going. I did not watch the movie twice, shockingly,
<v Speaker 2>I know, did you watch the movie twice? Yes, yes
<v Speaker 2>I did, And you said, Jeff, you said you watched
<v Speaker 2>it twice to count how many times he shot the
<v Speaker 2>gun while he was doing the car chase. Right, Yeah,
<v Speaker 2>I feel like he could say I watched it twice.
<v Speaker 2>If if I had watched it twice, my counting would
<v Speaker 2>have been how many times you saw the interworkings of
<v Speaker 2>the ferris wheel gears intercut with the action? Because yep,
<v Speaker 2>I was like, guys, can you spoon feed it to
<v Speaker 2>us anymore? We get it? You could have done the
<v Speaker 2>sparks on the control panel. We wouldn't have. But it
<v Speaker 2>was like Wiley Coyote and his acme machine. How many
<v Speaker 2>shots of the gears popping, squeaking, breaking we need to
<v Speaker 2>see to understand something's going wrong? Keep going, Jeff, good stuff.
<v Speaker 1>I've only got one more, sadly, oh wow, And you
<v Speaker 1>know I would. I would. I would want to put
<v Speaker 1>this in in D's cameo list, but I know we're
<v Speaker 1>not counting him as a cameo. But I love anytime
<v Speaker 1>we get a chance, and typically it's the eighties in
<v Speaker 1>the nineties when he was he was doing his best work.
<v Speaker 1>But at the beginning we get a quick shot of
<v Speaker 1>actor slash stuntman extraordinariyor al Leong who dies in the
<v Speaker 1>chop shop. You know, mister mister Indo is in here,
<v Speaker 1>so it was not like I saw him, was like,
<v Speaker 1>nice to see you.
<v Speaker 2>Another total waste.
<v Speaker 1>Yeah, oh yeah, absolutely a waste of his is killed
<v Speaker 1>and then he shoots red pain on his face. He
<v Speaker 1>didn't take an ice cream cone of the head, So
<v Speaker 1>I guess, I guess that's true that death was worse.
<v Speaker 3>Okay, So that's all you got in a good column.
<v Speaker 1>Really, that's all I got, you know, And I'm I
<v Speaker 1>was reaching if i'm if I'm being honest.
<v Speaker 2>Can I add a couple more to it?
<v Speaker 3>And then absolutely, yeah we got okay, yeah, all right,
<v Speaker 3>so I've got the stunts. I've got Judge Reinhold. I
<v Speaker 3>think Judge Reinhold is the only guy that's really trying
<v Speaker 3>to do anything to uplift this movie.
<v Speaker 2>Now, does he do it?
<v Speaker 4>No?
<v Speaker 2>Does he get it?
<v Speaker 3>No, he's trying, He's trying his best, you know.
<v Speaker 1>Going back to our chat, our text thread, I think
<v Speaker 1>I said something along lines of I really feel sad
<v Speaker 1>for Judge Reinhold because he's in this I mean the
<v Speaker 1>cartoony job title that he has at js IOC. There
<v Speaker 1>you go, It's like, come on, get let him, let
<v Speaker 1>him be a hero, or let him, let him play
<v Speaker 1>the fun billy that we like, don't do this to him.
<v Speaker 2>Though. The worst of it is the scene that should
<v Speaker 2>be the saddest where he gets shot. We should be
<v Speaker 2>at that moment, we should be devastated and like, oh
<v Speaker 2>my gosh, did they just kill Rosewood. We should be flabbergasted,
<v Speaker 2>except that he has him blown back and his arms
<v Speaker 2>and legs flail out on a spread eagle, and he
<v Speaker 2>looks like mister Magoo with his face. It's he is
<v Speaker 2>the cartoon buffoon in the time. That should be the
<v Speaker 2>most meaningful shot in the movie.
<v Speaker 1>I completely forgot what happened to him at the end
<v Speaker 1>of this film. And when Foley is sitting there with
<v Speaker 1>Hector and they've both been shot, and then Billy stumbles
<v Speaker 1>out and he is just bloody mess and he's not
<v Speaker 1>smiling and he kind of falls. I was like, wait,
<v Speaker 1>they didn't kill Billy, did they. And then you see
<v Speaker 1>the other you see Axel like, oh, he's gonna need
<v Speaker 1>the hospital, and they're like laughing at him, like, hey man,
<v Speaker 1>you're one of your closest friends just stumbled out covered
<v Speaker 1>in blood and he's been shot the pieces and he
<v Speaker 1>just collapsed, and you guys are just sitting there laughing
<v Speaker 1>at him.
<v Speaker 3>All right, I got two more things that work ready, right,
<v Speaker 3>I got Billy's drink, the giant blue thing.
<v Speaker 5>That's Billy.
<v Speaker 2>Yeah, that is Billy. Right, excuse me? Three things I thought?
<v Speaker 2>I thought?
<v Speaker 3>Axel in the Oki Doki mascot character had a couple
<v Speaker 3>of funny moments when the kid punches him in the
<v Speaker 3>nuts and he calls the little kid a little mf
<v Speaker 3>or That cracked me up.
<v Speaker 1>Listen, kid, I'm Oki Doki and I changed the steps.
<v Speaker 1>You got a problem with that?
<v Speaker 3>You're supposed to be nice to me no matter what
<v Speaker 3>I do. And then John Landis sporadically throws in impossibly
<v Speaker 3>beautiful women all over the place. Anytime I go to
<v Speaker 3>a musement park, it's moms that should wear long pants.
<v Speaker 3>Other than that, it's time for the bad list.
<v Speaker 2>So I'm just gonna throw this out there. The couple
<v Speaker 2>of the cameos that you might have missed Okster was
<v Speaker 2>Al Green Okay music artist. We already mentioned John Singleton.
<v Speaker 2>He played a fireman. Martha Coolidge is in it. Did
<v Speaker 2>you guys know that? Oh no, she's one of the
<v Speaker 2>security people. Again, a completely missed opportunity. But Martha, in
<v Speaker 2>case our listeners don't know, Martha Coolidge, real genius Valley girl.
<v Speaker 2>I mean, she's a well known director.
<v Speaker 3>They'll get tickets to six Lags for doing this.
<v Speaker 2>I guess I don't even know.
<v Speaker 3>Okay, So let's deconstruct this movie. What is wrong with
<v Speaker 3>this movie from a big picture?
<v Speaker 2>Okay? So I really really did struggle try to figure out, like,
<v Speaker 2>because I've seen Quentin Tarantino talk about how when he
<v Speaker 2>was about to become a director, when he was about
<v Speaker 2>to direct his first movie, he got to be a
<v Speaker 2>part of the Sundance Film Festival, like the grooming of
<v Speaker 2>directors thing that they do, right, which means he sat
<v Speaker 2>with world famous directors and I don't remember who he
<v Speaker 2>sat with, but basically his concern was he had seen
<v Speaker 2>really bad movies and he had seen really good movies,
<v Speaker 2>and he couldn't really you know, he didn't have it
<v Speaker 2>within him to go, how do I know I'm not
<v Speaker 2>making one of these bad movies instead of these good movies.
<v Speaker 2>And we would think at this stage John Landis would
<v Speaker 2>know the difference, right, Yeah, right, But what the direct
<v Speaker 2>whoever His mentor was was like, you don't have to
<v Speaker 2>worry about that. You are going to be paired up
<v Speaker 2>with cinematographers who know what they're doing, gaffers and set
<v Speaker 2>designers and production managers and all of these people. They
<v Speaker 2>have to trust them to do their job right, and
<v Speaker 2>you do your job and you don't have to worry
<v Speaker 2>about the rest. And so I know what I know
<v Speaker 2>about John Landis, and I'm looking, I'm going where did
<v Speaker 2>the cinematographer go wrong? Where did the production design go wrong?
<v Speaker 2>Where did the editing go wrong? And I can tell
<v Speaker 2>you that I see problems in all of those features. Right,
<v Speaker 2>we've already identified that this is a die hard movie
<v Speaker 2>that they tried to make into a police Academy movie,
<v Speaker 2>which is big fail for the director, right, there's no question.
<v Speaker 2>But even that shouldn't have been the death knoll that
<v Speaker 2>it is for this movie. But if you look at
<v Speaker 2>the framing and the shot choices in this movie, if
<v Speaker 2>this is John Landis making these decisions, he has absolutely
<v Speaker 2>lost his touch at this moment and he doesn't ever
<v Speaker 2>get it back. If it's he's relying on the cinematographer,
<v Speaker 2>then let me look at the cinematographer. Oh yeah, he
<v Speaker 2>hasn't done anything worth a flip in his entire life
<v Speaker 2>that wasn't somehow associated with John Lannis. Same thing for
<v Speaker 2>the editor. They are sub quality producers of their craft. Editor, cinematographer,
<v Speaker 2>production designer, all subquality. So I think you do you
<v Speaker 2>put the subquality characters of a core group in with
<v Speaker 2>a director who has one vision that is completely antithesis
<v Speaker 2>to the stars vision and the writer's vision. It's a
<v Speaker 2>recipe for disaster.
<v Speaker 3>Jeff, what went wrong for you?
<v Speaker 1>What he said was spectacular and it's absolutely true. It's
<v Speaker 1>a lot of what's wrong with this film. Me personally,
<v Speaker 1>when I watch this, I think I gotta lay some
<v Speaker 1>blame on on Eddie Murphy, because you are the star
<v Speaker 1>of the franchise. You have fifteen million dollars in your
<v Speaker 1>bank account to do this one, and you don't want
<v Speaker 1>to play ball. You're wanting to make a different kind
<v Speaker 1>of movie from everyone else. And I understand. You know,
<v Speaker 1>there should have been a compromise because, as d pointed out,
<v Speaker 1>doing this John Landis's Full Full Way would not have
<v Speaker 1>been a fun movie, wouldn't have been good Beverly Hills
<v Speaker 1>cop movie at all. But you gotta find a compromise there.
<v Speaker 1>And for me, when I'm watching this, I think one
<v Speaker 1>of the biggest laughs I got, one of the only
<v Speaker 1>laughs I got, was probably probably when we see Bronson
<v Speaker 1>pinshow the.
<v Speaker 2>Art gallery is completely bankrupt in the toilet Why because
<v Speaker 2>we had an owner who was obstinate and stupid and ignorant.
<v Speaker 2>You shot him, remember you.
<v Speaker 1>Remember, yes, I shot what are you doing there?
<v Speaker 2>I'm doing guns coming, look coming.
<v Speaker 1>Look, show up and you know, do the whole thing
<v Speaker 1>with surge and and it was just him giving us
<v Speaker 1>the line that he's always that. He gave us some
<v Speaker 1>Beverly Hills cop one. You know when we got it
<v Speaker 1>what you know he was. I found myself smiling. I
<v Speaker 1>was like, Okay, he's trying, you know at least, but
<v Speaker 1>you know, Eddie Murphy, I get it. He's coming off
<v Speaker 1>a string of flops. And you know, stories from the
<v Speaker 1>sets said that he was really depressed and he wasn't
<v Speaker 1>happy with the direction of what was going. I know
<v Speaker 1>there's that history with him Atlantis.
<v Speaker 2>So I just.
<v Speaker 1>Feel like Eddie was a big problem, part of the problem,
<v Speaker 1>but Landis owns half of it because he probably shouldn't
<v Speaker 1>have been paired up. You know, if you know that
<v Speaker 1>this is a toxic relationship, right, why are we even
<v Speaker 1>talking to Lantis?
<v Speaker 2>You know?
<v Speaker 1>And you've you've d how many direct do we have
<v Speaker 1>in this doing cameos? Like one of them wasn't available?
<v Speaker 1>Take the helm. That's where I land with it. I've
<v Speaker 1>got I got plenty of nitpicks. But if we're talking
<v Speaker 1>big picture stuff, that's it's it's it's the relationship between
<v Speaker 1>Murphy and landis that that's sunk this.
<v Speaker 2>I don't want to be the guy that just says
<v Speaker 2>bad job cinematographer. So I'm glad you brought up the
<v Speaker 2>surge scene. Serge. Why do you say it's serge? Sounds
<v Speaker 2>like a right? Okay, yeah, one funny line, right, So
<v Speaker 2>just in that scene alone, I'm like, here is a
<v Speaker 2>part of the movie that could actually be funny and
<v Speaker 2>play funny. And what we're getting from our cinematographer is
<v Speaker 2>three quarter close up followed by a reaction shot three
<v Speaker 2>quarter close up, by another reaction shot three quarter close up,
<v Speaker 2>rotating as though we were watching a soap opera. I mean,
<v Speaker 2>give me every third shot, give me a three shot,
<v Speaker 2>give me a two shot. But no, it's it is
<v Speaker 2>Eddie Murphy three quarter shot ronson Pinchot, three quarter shot Judge,
<v Speaker 2>try and hold three quarter shot over and over and
<v Speaker 2>over again, and never them all three in the same
<v Speaker 2>shot or two of them in the same shot. And
<v Speaker 2>I'm like, these are guys who went to their trailer
<v Speaker 2>during the scene and one at a time did their scenes,
<v Speaker 2>and we never get to see them together. It is
<v Speaker 2>a failure of cinematography and a failure of directing.
<v Speaker 1>Back to Murphy, Murphy shot the coverage that they needed
<v Speaker 1>for him and Landis minudstandings. Landis stood in for him
<v Speaker 1>so that Serge had someone to talk to and face
<v Speaker 1>off with.
<v Speaker 3>I think you're dead on, Jeff. I think the toxic
<v Speaker 3>relationship between Landis and Murphy is the sickness.
<v Speaker 2>That infected this movie. Right.
<v Speaker 3>Eddie Murphy famously said in Rolling Stone magazine that Vic
<v Speaker 3>Morrow would work with John Landis before he did.
<v Speaker 1>Again, that's cold.
<v Speaker 3>Blooded thing to say, Sue, That is cold.
<v Speaker 1>What do you think, Jason, What's what's your take on
<v Speaker 1>on where I went wrong? Well?
<v Speaker 3>I think that they got the tone wrong right. De
<v Speaker 3>talked about how this is a police academy feel original.
<v Speaker 3>Even Part two was a gritty police drama that a
<v Speaker 3>funny guy just stumbles into the action was real. There
<v Speaker 3>were real consequences to bullets and car crashes. I think
<v Speaker 3>back to that moment in the end of Beverly Hills
<v Speaker 3>Cop when they've captured Axel and he's looking at Victor
<v Speaker 3>Maitland and he said, if anything happens to her, and
<v Speaker 3>then the bad guy leans in is like, I'm all ears,
<v Speaker 3>you know. He said, I'll kill you. And that's a
<v Speaker 3>that's a real mono emano with real malice moment. And
<v Speaker 3>in this you've got Oki dokie dance and you've got
<v Speaker 3>stupid bad guy and just ridiculousness. You have no meaningful
<v Speaker 3>malice or consequences of any sort in this movie.
<v Speaker 2>Victor's reaction to that sequence, that would be a neat trick, right,
<v Speaker 2>it's just as mincing. You've got two guys who are
<v Speaker 2>badasses who are facing off, and that's awesome. You take
<v Speaker 2>the auxiliary scene from Beverly Hills Cop three, it's the
<v Speaker 2>guy getting the award at the podium and actual crashing
<v Speaker 2>the show and then one comment one comment about killing
<v Speaker 2>his friend or whatever, and they start wrestling around and
<v Speaker 2>punching each other like the Stay three Stooges.
<v Speaker 1>Yeah, yeah, and this is the third time we saw him,
<v Speaker 1>you know, have to be pulled off of the head
<v Speaker 1>security guy. Which, while we're talking about it, you've got
<v Speaker 1>John Saxon in this movie. Why are you wasting him?
<v Speaker 1>If we know that he's one of the bad guys
<v Speaker 1>and he's the boss of the killer Inspector todd S Killer,
<v Speaker 1>why aren't we using Saxon right a lot more?
<v Speaker 3>He does nothing nothing. Okay, I got another thing that
<v Speaker 3>I think was bad, but I don't quite know how
<v Speaker 3>to fix it. Okay, so this is a nineteen ninety
<v Speaker 3>four movie. They don't have the rock and roll soundtrack
<v Speaker 3>of the first two movies. There's no video that goes
<v Speaker 3>along with it. There's no hit song. You do have
<v Speaker 3>an Inxcess song that I think is pretty good, but
<v Speaker 3>I don't really remember it being popular or anything, or.
<v Speaker 1>I think the only two times I've heard that Inxcess
<v Speaker 1>song are the two times I've watched the movie. Right,
<v Speaker 1>It's kind of hidden in the movie, honestly.
<v Speaker 2>Right.
<v Speaker 3>And then you have the great value version of axel
<v Speaker 3>f It's cringe worthy. Nile Rogers not a nobody. This
<v Speaker 3>guy produced Duran Duran. He made this soundtrack for Coming
<v Speaker 3>to America. I mean, he's a successful guy. Miss badly
<v Speaker 3>on the music.
<v Speaker 2>But again, I'm gonna kind of lay that off on
<v Speaker 2>the production company. They were trying to make a kid movie,
<v Speaker 2>and I guarantee that they pulled him in and they said,
<v Speaker 2>we want this to sound more like a Chuck Jones soundtrack.
<v Speaker 1>It really does play as a kid movie.
<v Speaker 2>Yeah, with f wards, Yeah, yeah, absolutely it does and
<v Speaker 2>exploding squibs and dead bodies and when.
<v Speaker 3>You get shot, you get launched back fifteen feet right,
<v Speaker 3>having a handgun. But we haven't even mentioned the Annihilator
<v Speaker 3>two thousand, the boombox bazooka.
<v Speaker 1>I was hoping not to.
<v Speaker 3>Ronson pin shows Surge. Surge actually has the funniest part
<v Speaker 3>of the movie, which is a problem when you pay
<v Speaker 3>Eddie Murphy fifteen million dollars to be the Stone, but
<v Speaker 3>then he's selling a machine gun missile shooting.
<v Speaker 1>What how do you go from making drinks for people
<v Speaker 1>in an art gallery to selling the warfare that he
<v Speaker 1>has in this little this booth, these designer guns.
<v Speaker 2>That he has, high end warfare.
<v Speaker 1>It's just ridiculous.
<v Speaker 3>I got one other thing that stood out to me,
<v Speaker 3>and I literally as I watched this for the second
<v Speaker 3>time this week, I said, what are they thinking? So
<v Speaker 3>Eddie Murphy shows up at his hotel or wherever he's staying,
<v Speaker 3>I don't even really know. And there's Uncle Dave. Uncle
<v Speaker 3>Dave who is you know, the Walt Disney character. So
<v Speaker 3>Walt Disney shows up to basically say, our Coo has
<v Speaker 3>been missing for weeks. What in the halfway through the
<v Speaker 3>movie we would find out the Coe is missing? I
<v Speaker 3>don't think we ever see him again?
<v Speaker 1>What happened to him?
<v Speaker 2>He gets shot? Uncle Das he's a plot point, we
<v Speaker 2>have to fall in love with him in that scene,
<v Speaker 2>despite the ridiculousness of whatever plot point he's bringing. We
<v Speaker 2>have to know that he is actually a good guy.
<v Speaker 2>He's not a bad guy Uncle Dave. By the way,
<v Speaker 2>I know I texted you guys, But for our listeners,
<v Speaker 2>do you know who Uncle Davis?
<v Speaker 3>You told me.
<v Speaker 2>I didn't know. It's wilber Off of the Spread.
<v Speaker 1>And like I told you, I know him as the
<v Speaker 1>voice of Scrooge McDuck is. He's the one guy who's
<v Speaker 1>done more Scrooge McDuck work than anyone else. He did
<v Speaker 1>Duck Tails he did Mickey's Christmas Carol. Watching that, I
<v Speaker 1>was like, you could sort of hear a little Screwge
<v Speaker 1>McDuck in his voice every now and then.
<v Speaker 2>His original version of that accent, as far as I know,
<v Speaker 2>is on the time Machine, the original like nineteen sixties
<v Speaker 2>time Machine. He's the guy who kind of has the
<v Speaker 2>closing model and he's got a Scottish accent in that
<v Speaker 2>one as well.
<v Speaker 1>Can we talk about Uncle Dave's shooting real quick, please,
<v Speaker 1>because we really led to believe that he's shot. And
<v Speaker 1>then within minutes of being at you know, you know,
<v Speaker 1>actual takes him to the hospital. I don't know who
<v Speaker 1>stripped him, by the way, but he's, you know, he's
<v Speaker 1>heading in, you know, gunshot wound and he's you know,
<v Speaker 1>without his shoes, his shirt, everything. But then like within minutes,
<v Speaker 1>all of LA knows that Uncle Dave has been shot.
<v Speaker 1>This is nineteen ninety four.
<v Speaker 2>Hippa did not exist in nineteen I guess not. Because
<v Speaker 2>somebody famous comes into the hospital. The nurse is on
<v Speaker 2>the horn.
<v Speaker 1>Right, I was like, do you hear Uncle Dave got shot? Like,
<v Speaker 1>you know, we got the racist cops who you know,
<v Speaker 1>I mean, Eddie Murphy just you know, acxual just ask
<v Speaker 1>him where the coffee machine is and then they're like,
<v Speaker 1>oh yeah, They're like he was shot black man, shot
<v Speaker 1>Uncle Dave. Yeah, see the only black man in Beverly.
<v Speaker 2>Hills at this point, come on like okay, yeah. Oh,
<v Speaker 2>by the way, there's another failure. Did any of this
<v Speaker 2>movie look like Beverly Hills to you guys?
<v Speaker 5>No?
<v Speaker 1>Not once? No, not once.
<v Speaker 2>And they were actually outside of the Beverly Hills Police station.
<v Speaker 2>But I don't want to see the real Beverly Hills
<v Speaker 2>police station. I want to see Tony Scott or Martin
<v Speaker 2>Brest version, the high end, hoity toity police station. That's
<v Speaker 2>what I want to see. Don't give me the real one.
<v Speaker 1>Well, it's funny because he shows up to that box
<v Speaker 1>and all of a sudden, like is this the police
<v Speaker 1>department from Last Action Hero or is this actually Beverly
<v Speaker 1>Hills cop for English press one for this you know,
<v Speaker 1>it's like, yeah, i'd seen bug the crap out of
<v Speaker 1>me too, because we know Axel is extremely intelligent, he's
<v Speaker 1>very competent, he's never over his head, and he couldn't
<v Speaker 1>figure out how to.
<v Speaker 3>Communicate with I need to talk early, not Detective Rosewood
<v Speaker 3>and he gets out of his car and he just
<v Speaker 3>leaves a part there.
<v Speaker 2>You know.
<v Speaker 3>The other thing I wanted to mention that I think
<v Speaker 3>this movie really suffers from is you don't have the
<v Speaker 3>Abbott and Costello or Laurel and Hardy between Taggart and Rosewood,
<v Speaker 3>and you don't have the heavy to kind of press
<v Speaker 3>back against Eddie Murphy's shenanigans.
<v Speaker 1>You don't because I mean, remember Taggart was was in
<v Speaker 1>the original script, and when you know, when he when
<v Speaker 1>he passes on this, Hector Alonzo just comes in. I
<v Speaker 1>know they said they they rewrote it for him, but
<v Speaker 1>watch well, let's not watch it a third time, but
<v Speaker 1>think back to Hector Alonso because he is basically he's taggered,
<v Speaker 1>but he's not. Yeah, but it's like when you know, hey,
<v Speaker 1>there's a shooting suspect that Wonderland and we were in
<v Speaker 1>Hector Alonzo's car, He's like, fully, you know, I was like,
<v Speaker 1>you don't even know fully, you just met him ten
<v Speaker 1>minutes ago. I hated that they couldn't at least let
<v Speaker 1>Hector Alonzo be a different character.
<v Speaker 2>Okay, So my theory on a possibility here is that
<v Speaker 2>they spent so much money on what was that ride?
<v Speaker 2>The Alien attack? Is that what it was called?
<v Speaker 1>Attack?
<v Speaker 2>Alien Attack? They blew their entire ten million dollars that
<v Speaker 2>was left over. They blew nine one point nine million
<v Speaker 2>dollars of it on that scene. And that's why they
<v Speaker 2>couldn't afford a decent cinematographer, editor, or set designer.
<v Speaker 1>D Can I blow your mind for a second? Sure
<v Speaker 1>that ride actually exists? That's a real ride. I tell you.
<v Speaker 1>I can tell you this because I wrote it, and
<v Speaker 1>it's awesome.
<v Speaker 2>You've been on that ride.
<v Speaker 1>I have been on that ride now where.
<v Speaker 2>The truck comes coming down out of the hole, the
<v Speaker 2>full waters come down the stairway.
<v Speaker 1>Oh, it's intense.
<v Speaker 3>Yeah, the cylons attack you.
<v Speaker 1>No, okay, So this is where this is where we
<v Speaker 1>go to. We veer from a what's real and what's
<v Speaker 1>what's in the movie? The movie has they call the
<v Speaker 1>ride Ailien Attack, and let's basically it's just it's this
<v Speaker 1>really intense moment where you know you basically are in
<v Speaker 1>an earthquake, but we have Sylons from Battlestar Galactica just
<v Speaker 1>shooting lasers for no apparent reason.
<v Speaker 2>Yeah.
<v Speaker 1>Do you remember the seventies disaster film Earthquake with Charlton Heston. Yeah,
<v Speaker 1>hey kay, yeah, I rode this ride at Universal Studios
<v Speaker 1>twenty years go and it's the Earthquake wid So you
<v Speaker 1>get on this little tram and it's because it's Universal Studios,
<v Speaker 1>you're just supposed to be like going to see the
<v Speaker 1>park and when you're in this subway they freak out.
<v Speaker 1>They're like, we were experiencing a quake. And I mean,
<v Speaker 1>the what you saw in the movie is authentic. The
<v Speaker 1>ground just crushes and crumbles. This big gas truck comes
<v Speaker 1>falling down and it's like gets right up on you steam.
<v Speaker 1>Then the flood starts. It's awesome. I hope it's still
<v Speaker 1>still there. This is like the Heyday where you know
<v Speaker 1>you could ride the et ride King Kong Backdraft Terminator two.
<v Speaker 1>Earthquake was one of the best ones they had, all right, Jeff,
<v Speaker 1>So we've beat up on this movie quite a little bit.
<v Speaker 3>How could we have corrected this? What could this have been?
<v Speaker 3>I think there's a lot of ways you could have
<v Speaker 3>corrected it.
<v Speaker 1>But let's just talk for a quick minute about what
<v Speaker 1>could have been With some of the different scripts. Do
<v Speaker 1>you mentioned at the beginning, we went through several rewrites.
<v Speaker 1>So I just just for the listeners, let's let's talk
<v Speaker 1>about the ideas that that all got shut down. Okay.
<v Speaker 1>Initially we had a plot where Taggart and Billy and
<v Speaker 1>Fully had to go rescue Bogomil because he is being
<v Speaker 1>held hostage in London. Okay, and this is the one
<v Speaker 1>that everyone was like this, we're on board, but production
<v Speaker 1>delays and arguing over salaries, a lot of stuff goes wrong.
<v Speaker 1>Ultimately roddy Cox has to has to bail on it
<v Speaker 1>and John Ashton have to bail on it, so that
<v Speaker 1>one goes away. But we love the idea of the
<v Speaker 1>fish shot of water story just going to a different,
<v Speaker 1>different area. So there were two other There were two
<v Speaker 1>other stories that had Axel going to London. One of
<v Speaker 1>them had him teaming up with Sean Connery from Scotland Yard,
<v Speaker 1>which whoa that could have been kind of fun, I think, right,
<v Speaker 1>and that one apparently, uh you know, got a lot
<v Speaker 1>of steam. But then I guess Connery wasn't wasn't too
<v Speaker 1>keen on it. Famous screenwriter Robert Town wrote a draft
<v Speaker 1>where Axel has to deal with his celebrity status. It
<v Speaker 1>would make sense that a guy that does this kind
<v Speaker 1>of stuff, like he's in the news, he's the he's
<v Speaker 1>in the papers. That got shut down quickly. There was
<v Speaker 1>one last idea for London where the villain was going
<v Speaker 1>to be based off the Cray Brothers, and I don't
<v Speaker 1>know if you ever saw that Tom Hardy movie. They
<v Speaker 1>were famous gangsters in London in the sixties. But the
<v Speaker 1>idea was that they got captured in Detroit and Jeffrey
<v Speaker 1>was responsible for getting them back to London. Their henchmen
<v Speaker 1>killed Jeffrey. Q Axel going to London to solve the murderer,
<v Speaker 1>you know who killed Jeffrey, because that's again one of
<v Speaker 1>my friends got shot.
<v Speaker 2>Jeffrey was Paul Reiser's character. Correct Paul Reiser's character, Okay.
<v Speaker 1>And at that point he was supposed to team up
<v Speaker 1>with someone from Scotland Yard who was they were looking
<v Speaker 1>at John Cleese. So John Clees and Eddie Mellandy great
<v Speaker 1>teaming up to find Jeffrey's killer in London. That would
<v Speaker 1>have been fantastic as well, But we didn't get any
<v Speaker 1>of those and ultimately Paramount said let's go to the
<v Speaker 1>theme park.
<v Speaker 2>So you're saying that one of those ideas would have
<v Speaker 2>fixed the movie.
<v Speaker 1>I think one of those ideas would have been better
<v Speaker 1>than what we got.
<v Speaker 2>Well, you know that's as I mentioned before, being mugged
<v Speaker 2>and kicked in the balls would have been well.
<v Speaker 1>That's true. I want to live in a world where
<v Speaker 1>Axel transfers. Like we catch up with him and he
<v Speaker 1>is a Beverly He's a Beverly Hills cop. He has transferred,
<v Speaker 1>so now he has a headache for Taggart and Bokemo
<v Speaker 1>he's you know, Billy loves him. And then this thing
<v Speaker 1>happens and they gotta go to they gotta go to London.
<v Speaker 3>Did you guys hear about the Beverly Hills Cop TV show? Yeah,
<v Speaker 3>that they actually shot a pilot for whoa Yeah, I
<v Speaker 3>gotta had the guy from Tropic Thunder.
<v Speaker 2>Yeah people that guy, Oh, okay.
<v Speaker 1>That guy.
<v Speaker 5>Yeah.
<v Speaker 3>Apparently it was supposed to be Axel Foley's son, and
<v Speaker 3>Eddie was supposed to come back for the pilot and
<v Speaker 3>kind of kick it off and turn it over to him.
<v Speaker 2>He was the chief. Axel Foley had had taken the
<v Speaker 2>chief spot, but he was. He was there for the pilot.
<v Speaker 2>But the studio were like, okay, well you got to
<v Speaker 2>be a recurring character, and he was like, wait.
<v Speaker 1>Just past the torch. I would have watched al Pacino, Alpachino.
<v Speaker 1>That is, uh, plant Axle follies all Junior. I'm guessing
<v Speaker 1>that would have been fun.
<v Speaker 2>Yeah my fix for the movie. Yeah, I would think
<v Speaker 2>it would have been great if we would have had
<v Speaker 2>Beverly Hills Cop Crocodile Dundee crossover. What do you guys
<v Speaker 2>think about that?
<v Speaker 1>I read about that. Who was it that that suggested that?
<v Speaker 1>And and Murphy was like, absolutely not. I don't remember
<v Speaker 1>who it was it was.
<v Speaker 2>That was at least as far as all of that goes,
<v Speaker 2>that was a right decision. I feel like that was
<v Speaker 2>something that the production companies were pushing for. That that
<v Speaker 2>Eddie Murphy was right and standing his ground and saying,
<v Speaker 2>no freaking way am I going to do that? How
<v Speaker 2>about this idea?
<v Speaker 3>How about Riggs Murta and gets No, no.
<v Speaker 2>No, we do that is that is lame ass happy
<v Speaker 2>days bull crap. You do not do that with an
<v Speaker 2>established franchise. No no, no.
<v Speaker 1>No, no, no no crossovers for you, d no, sir, No,
<v Speaker 1>all right, I can say this.
<v Speaker 2>They wanted to shoot Jeffrey, right, They wanted to shoot
<v Speaker 2>Paul Riser and I would have been at the theater.
<v Speaker 2>I would have been like, Okay, we're going to shoot
<v Speaker 2>a guy again. This is really our this is really
<v Speaker 2>our hook.
<v Speaker 1>Every single movie, every single time.
<v Speaker 2>And we can we try something else. So the kidnapping idea,
<v Speaker 2>that sounds like a good and who in my mind,
<v Speaker 2>who better to kidnap than Judge Reinoldt because you fear
<v Speaker 2>for him, because you love him, he's a big teddy bear. Yeah.
<v Speaker 2>And so you have Axel Foley having to really team
<v Speaker 2>up with Taggart where their pion together. They're now playing
<v Speaker 2>the married couple, right, they're now playing the Abbott and
<v Speaker 2>Costello part. I could see that they play off each
<v Speaker 2>other for comedy. We have a vested interest in rescuing Billy.
<v Speaker 2>That seems to me to be a much better lot
<v Speaker 2>scenario than what we got. But what we got we
<v Speaker 2>ended up back with, Well, let's shoot a guy and
<v Speaker 2>have him go try to investigate Jason.
<v Speaker 1>If we could jump into your delor and take d
<v Speaker 1>back to Paramount in nineteen ninety three, I think the
<v Speaker 1>serioushit you're gonna see is an amazing Beverly Hills cop
<v Speaker 1>three film. You know, screenplay by James D. Graves because
<v Speaker 1>I would love to see that movie.
<v Speaker 2>Okay, well, let's get into it.
<v Speaker 3>The moment has arrived for final judgment, your last, Jeff,
<v Speaker 3>you're first.
<v Speaker 1>I'm shocked to say I would happily watch Jaws three
<v Speaker 1>D every day of the week if it meant avoiding
<v Speaker 1>watching this once a week. This one way better than
<v Speaker 1>Beverly Hills Cup three. Jaws three over Beverly Hills Cup three.
<v Speaker 1>That's my that's my final judgment.
<v Speaker 3>Okay, how about you. Well, let me put you on
<v Speaker 3>the spot real quick. I got I want to ask
<v Speaker 3>this question. Rank the following six movies. Joss four, Superman four,
<v Speaker 3>Alien three, Last Action Hero, Jaws three, Beverly Hills Cup three.
<v Speaker 1>I'm gonna go first to worst, Jaws Revenge. You know
<v Speaker 1>I love it.
<v Speaker 2>Yep.
<v Speaker 1>Here's where you both hiss at me. Alien three, And
<v Speaker 1>I'm talking about the director's cut in Jay, I sent
<v Speaker 1>you the director's cuts you have, you know, yes, yeah,
<v Speaker 1>Number three, Last Action Hero because it's just it's just
<v Speaker 1>a fun film. Number four, Jalls three D, Number five,
<v Speaker 1>Beverly Hills Cop three, And in last place, drill down
<v Speaker 1>like one hundred and seventy feet of crap and then
<v Speaker 1>get to number six. It's still Superman four of the
<v Speaker 1>Quest for Piece, not because of how bad it is,
<v Speaker 1>even though it's really bad. It's just it broke my
<v Speaker 1>heart because it should not have been that bad. And
<v Speaker 1>I know we've talked about all that, so I won't
<v Speaker 1>get into it. But yeah, that's that's my ranking of
<v Speaker 1>these six.
<v Speaker 3>Okay, so this is my final judgment now between Jaw
<v Speaker 3>Just three and Beverly Hills Cop three.
<v Speaker 2>This is no contest.
<v Speaker 3>I know that going into it, I was the biggest
<v Speaker 3>Just three fan of the three of us. Clearly, Josh
<v Speaker 3>three is immensely more enjoyable. I mean it is not
<v Speaker 3>even close. It is way way tilted in the favorite
<v Speaker 3>Jos three. I think there's fun to be had in
<v Speaker 3>Jaws three. There is no fun to be had in
<v Speaker 3>Beverly Hills Cop three. It is a disaster. It's a divorce.
<v Speaker 3>You know, it's an abomination. So here's my metaphor I
<v Speaker 3>want to give you guys. Okay, Jaws three is like
<v Speaker 3>you go to Sea World and the killer whale exhibit
<v Speaker 3>that you went there to see is closed, and you
<v Speaker 3>know the whale is sick, and oh man, that stinks.
<v Speaker 3>And then you go to the dolphin thing and they're like, oh,
<v Speaker 3>the dolphins are sick today, they can't perform, Like, oh man,
<v Speaker 3>well that's stinks. Well, at least I still get to
<v Speaker 3>watch the water skiers, and you know, I get I
<v Speaker 3>get some cotton candy and I have a coke or whatever.
<v Speaker 3>Beverly Hills Cop three is like pulling up and the
<v Speaker 3>moose outside tells you the whole park is closed. Your
<v Speaker 3>vacation is shut down. There's nothing for you here. Parks closed.
<v Speaker 3>Moose outside should have told you dead on arrival.
<v Speaker 1>Absolute crap fest.
<v Speaker 3>Okay, now then ranking my one, two, three, four, five, six,
<v Speaker 3>Jaws of Revenge number one, this first worst, it's the best.
<v Speaker 3>It's the best.
<v Speaker 2>Oay, okay, it's the best. Yeah. Last Action Hero number two.
<v Speaker 2>You walked out of that, right he did?
<v Speaker 1>He walked out?
<v Speaker 2>Was walk out of that?
<v Speaker 3>In third place is Jaws three, still fun. I like it,
<v Speaker 3>have fun with it. I don't care. Slot number four
<v Speaker 3>The terrible Hated Alien three where they kill off Hicks
<v Speaker 3>and New in the first ten minutes. I hate that
<v Speaker 3>movie and it's in fourth fourth place. Fifth place is
<v Speaker 3>Superman four. It's atrocious. It's awful. He points at the
<v Speaker 3>China Wall, or the he points at the Great Wall
<v Speaker 3>of China and rebuilds itself. It's ridiculous, and drill down
<v Speaker 3>fifty feet of crap and that's where you will find
<v Speaker 3>Beverly Hills Cop Part three. It is the worst movie
<v Speaker 3>that we have covered at the Charley Can't Be Serious podcast,
<v Speaker 3>Spike in the Football.
<v Speaker 1>Your ranking wasn't too different from mine. I am a
<v Speaker 1>shadowy reflection of you.
<v Speaker 2>Nudge all right, you might.
<v Speaker 3>Now you're being nasty.
<v Speaker 1>Speaking of nasty, we got to hear these, I know.
<v Speaker 3>Let's hear it.
<v Speaker 2>Okay. So Jows three D was a horrific experience. So
<v Speaker 2>I've walked out of two movies in my life too. Okay.
<v Speaker 2>They are Showgirls, which I was an adult when I
<v Speaker 2>saw show plast and I was excited. I even told them.
<v Speaker 2>I'm telling my son, I don't you know. I thought
<v Speaker 2>that easygoing dad that talks about this kind of stuff.
<v Speaker 2>But I literally said to him, like, there was a
<v Speaker 2>totally hot girl who everybody was in love with off
<v Speaker 2>of this TV show, who is gonna go and be
<v Speaker 2>naked all of the time in this movie. And I'm
<v Speaker 2>in my early twenties. I'm ready, And I walked out
<v Speaker 2>of that piece of crap when I was seven. It's
<v Speaker 2>when I learned that you could walk out of a movie,
<v Speaker 2>because my dad said, come on, we're going, We're leaving.
<v Speaker 2>And so I haven't seen this movie in forty one
<v Speaker 2>years and I watched it again and I have to say,
<v Speaker 2>my dad made the right decision, right. It is a terrible,
<v Speaker 2>terrible movie. Beverly Hills Cop three is not even a movie.
<v Speaker 2>It's a joke. Oo like it the East. Jaws three
<v Speaker 2>is still a movie. It's a really really bad movie.
<v Speaker 2>It's worse than Jaws the Revenge, but it's still a movie.
<v Speaker 2>There is a plot. As bad as it is. This
<v Speaker 2>movie is horrible, and I agree it is the worst
<v Speaker 2>movie that we have covered. And I will come back
<v Speaker 2>to the I will go through my list here in
<v Speaker 2>just a second, but I will say this, of all
<v Speaker 2>of these movies, it's probably the one that I would
<v Speaker 2>watch again. But I would do it with a notepad
<v Speaker 2>and a paper so I could say to myself, how
<v Speaker 2>do I never do this? How does a director? How
<v Speaker 2>does somebody who wants to be a good movie maker,
<v Speaker 2>a good filmmaker not do this because we know the
<v Speaker 2>talent that was involved, and somehow they still turned this
<v Speaker 2>piece of crap out. So I would really want to
<v Speaker 2>just study it like somebody studies a corpse.
<v Speaker 3>Now wait a minute, Just for the record, Jaws three
<v Speaker 3>better than Beverly Hills Captor the words that we've been
<v Speaker 3>waiting on a week for.
<v Speaker 2>Jaws three is far and away better than Beverly Hill
<v Speaker 2>Top three. It's not even close. They're not in the
<v Speaker 2>same ballpark, they're not in the same universe.
<v Speaker 3>Bollerram is happy.
<v Speaker 2>D is a true believer.
<v Speaker 1>Oh that's great.
<v Speaker 3>Okay, now rank the.
<v Speaker 2>Six, ok yeah, all right, best of the six that
<v Speaker 2>we've talked about. Alien three, what, Yeah, it's it's still
<v Speaker 2>David Fincher. There are lots of things wrong with it,
<v Speaker 2>but it's I would probably even watch that one again
<v Speaker 2>just to try to love it. And I definitely I
<v Speaker 2>want to see the director's cut, please, what it was like,
<v Speaker 2>I mean, whatever they call it, because he would He
<v Speaker 2>said his director's cut would be to take it and
<v Speaker 2>burn the negative. Right, that's right, he did say that,
<v Speaker 2>And so then that the next one on my list,
<v Speaker 2>like the second best is Last Action Hero. After that, Jaws,
<v Speaker 2>the Revenge after that, Jaws three D after that. I'm
<v Speaker 2>in agreement with Jeff Superman four, not necessarily because it's
<v Speaker 2>a worst movie, but because of what it did to
<v Speaker 2>a truly beloved franchise of mine. And that's why I
<v Speaker 2>still put Man of Steel on top of my list,
<v Speaker 2>because it brought that franchise back. I mean, Gem and Me.
<v Speaker 2>But yes, Beverly Hills Cop Three does not qualify as
<v Speaker 2>a movie. It gets a zero. I have five four three,
<v Speaker 2>two one zero Beverly Hills Cop three. Wow. I love it.
<v Speaker 2>And I really didn't believe you guys that you're going
<v Speaker 2>to give me something worse than than Jaws three D.
<v Speaker 3>But it's hard to believe. It really is hard to Yeah,
<v Speaker 3>that collection of talent.
<v Speaker 2>Yeah you you. You tricked me with a jelly bean
<v Speaker 2>that tasted like earwax and then gave me one that
<v Speaker 2>tasted like vomit.
<v Speaker 1>I love the analogies on this show. They're top notch.
<v Speaker 3>Jeff, thank you for being with us again.
<v Speaker 2>Man.
<v Speaker 3>I hope you had a good time doing the What
<v Speaker 3>the heck Happened series with us?
<v Speaker 1>Guys. You know I love doing this with you. I
<v Speaker 1>love the What the Heck Happened series. I'm here for
<v Speaker 1>it every time. I don't know, I don't know what
<v Speaker 1>could be next, but sign me up because I love
<v Speaker 1>talking bad movie. I don't love watching bad movies, but
<v Speaker 1>I love talking bad movies, especially with you two.
<v Speaker 3>We've got What the heck Happened coming later this summer available.
<v Speaker 1>I'm always available.
<v Speaker 3>He's already shaking in his chair.
<v Speaker 2>For this matchup. Honestly, I'm excited for this matchup, okay,
<v Speaker 2>because these are actually movies that a lot of people like.
<v Speaker 3>Right, Okay, We're doing Star Trek the Motion Picture, okay,
<v Speaker 3>versus Star Wars The Phantom Menace.
<v Speaker 1>So the worst film of one franchise against one of
<v Speaker 1>the worst films of another franchise. And that's all I'll
<v Speaker 1>say for now. You away, Okay, Yeah, I'm here for it.
<v Speaker 1>Versus ninety nine.
<v Speaker 2>I love it.
<v Speaker 3>Well, thanks for being here, Bud. What do we got
<v Speaker 3>coming up next to you?
<v Speaker 2>Okay? So we have another music episode coming up. We
<v Speaker 2>have Reckless by Brian Adams versus Heartbeat City by the Cars.
<v Speaker 3>That's right, two big albums from eighty four. We're continuing
<v Speaker 3>in our eighty four series before we kind of shift
<v Speaker 3>in eighty nine and that will be a banger of
<v Speaker 3>a series.
<v Speaker 2>Want to come back for that? Check it out. Yeah,
<v Speaker 2>and guys, if you love this episode, please check out
<v Speaker 2>our Patreon episode where we cover one hit Wonders and
<v Speaker 2>other novel songs. It is cheap to join, only five
<v Speaker 2>bucks a month or more if you want to get
<v Speaker 2>some prizes involved. But even if you're only five bucks,
<v Speaker 2>you get access to every single one of those episodes.
<v Speaker 2>Or if you just want to follow the page to
<v Speaker 2>see what we're doing, you can go on to patreon
<v Speaker 2>dot com backslash Shirly Podcast and see what we're putting
<v Speaker 2>out there to see. If you're interested, and be sure
<v Speaker 2>and go over and check out a film by podcast
<v Speaker 2>the Jeff host with his friend Brad. They've got a
<v Speaker 2>few co hosts that come in and do other things
<v Speaker 2>as well. Subscribe to them them up for their Patreon
<v Speaker 2>as well. And if you guys can't do that, give
<v Speaker 2>us a little five star and give us a review.
<v Speaker 2>It is a five stars because that's great. And then
<v Speaker 2>an if you're in your review, if you want to
<v Speaker 2>tell us we suck eggs, then go ahead, we can
<v Speaker 2>we can handle that. Just don't give us one star
<v Speaker 2>because I did suck.
<v Speaker 1>Jeff, what do you got coming up for us, man,
<v Speaker 1>I'll tell you we got We're kind of doing a
<v Speaker 1>Peter Hims thing. Me and Andrew are going to talk
<v Speaker 1>about twenty ten, the year we make contact. Later in
<v Speaker 1>that week, we're going to hear from Scott and Dave
<v Speaker 1>on a film at forty five. They're talking about a
<v Speaker 1>little little known Harrison Ford film called Hanover Street. I'm excited.
<v Speaker 1>I've never seen it. I'm excited to see it. I'm
<v Speaker 1>excited to hear what those guys have.
<v Speaker 2>To talk about.
<v Speaker 1>But you know, Wednesdays, we've got our face, you know,
<v Speaker 1>for all the Star Trek lovers, we got our phasers
<v Speaker 1>set to stun currently recapping the final season of Discovery,
<v Speaker 1>and you know Flashback Fridays. If it's not talking movies
<v Speaker 1>from nineteen ninety six, it's celebrating the forty fifth anniversary
<v Speaker 1>of films from nineteen seventy nine. So we've got a
<v Speaker 1>lot of fun stuff coming up.
<v Speaker 3>Well, thanks again for being here, everybody. We will see
<v Speaker 3>you back here next week.