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