Beverly Hills Cop 4 Heading to Netflix!

Netflix seems to be enjoying their relationship with Eddie Murphy. Their recent collaboration with him on Dolemite Is My Name has been quite beneficial, and it may end up with a few Academy Award nominations as well.

Now, Variety is reporting that Paramount has licensed Beverly Hills Cop 4 to Netflix. Right now, IP is gold, and this is a big win for Netflix. While the first two Beverly Hills Cop films were solid releases, the third film did not perform to expectations, and with the 25 years since that release, there is concern that the long-awaited fourth film may not be able to attract a big theater-going audience, whereas the home viewing experience should result in more clicks and views.

Netflix seems to be pushing for IP, and not just BHC4. They seem to be going all-in on Eddie Murphy. Their partnership with Adam Sandler has done quite well for them, and this all looks like a solid move for the streaming giant as they try to acquire enough IP to fight studios that have been around for decades.

So what do you think? Is this a smart move for Netflix? Is this a smart move for Paramount? Let me know/Drop a comment below!

 

-Kyle A. Goethe

[Happy 35th Birthday!] Fast Times at Ridgemont High (1982)

Director: Amy Heckerling

Cast: Sean Penn, Jennifer Jason Leigh, Judge Reinhold, Phoebe Cates, Brian Backer, Robert Romanus, Ray Walston

Screenplay: Cameron Crowe

90 mins. Rated R.

 

Fast Times at Ridgemont High had an interesting genesis. Screenwriter Cameron Crowe (TV’s Roadies, Almost Famous) actually went undercover at a high school for some time and fictionalized a book out of it. He later adapted that book to be the film we are discussing today. It goes further than that, too. There’s even a Fast Times television series that I’m trying to get my hands on for my own twisted curiosity. The show is apparently terrible but I have my reasons…

Fast Times at Ridgemont High is one of the earliest slice-of-life films in the high school setting, or at least one of the most well-known and reputable ones. There are several characters intersecting at its core, most memorably Jeff Spicoli (Sean Penn, Mystic River, The Angry Birds Movie), a stoner who finds himself at odds with teacher Mr. Hand (Ray Walston, TV’s My Favorite Martian, The Sting), who expects the highest respect from his students. Then there’s the Hamiltons, brother Brad (Judge Reinhold, Beverly Hills Cop, Dr. Dolittle: Million Dollar Mutts) and sister Stacy (Jennifer Jason Leigh, The Hateful Eight, Morgan). Brad is about to finish his high school career as a blip and he just can’t seem to get a win. Stacy is exploring her sexuality with anyone she comes across but can’t seem to understand the different between sex and love. She is pined for by Mark “Rat” Ratner (Brian Backer, The Burning, Loser) who gets all his romantic advice from the slimy Mark Damone (Robert Romanus, The Runaways, American Pie presents The Book of Love) who may just be getting a kick out of watching Rat fail.

Fast Times is an engaging and funny take on high school relationships of all kinds, and director Amy Heckerling (Look Who’s Talking, Vamps) spends equal time developing strong characters and seemingly important moments in the fleeting high school experience.

The strongest and most enjoyable performance is Sean Penn’s Spicoli. Penn is virtually unrecognizable in his portrayal of the over-the-top stoner but there is an energy to his performance that made me remember all the people I knew in my adolescence that were Spicolis in their own way. He isn’t out of place, but he is the epitome of all the youths who didn’t think out their plans after high school, the ones that stayed in the moment, in the now, for better or worse.

Jennifer Jason Leigh’s Stacy Hamilton is another relatable character in that, in high school, everyone was looking to get laid as a personal status symbol. It’s weird to think of it that way but so many do, and this conceit seems to feed into itself as more high school comedies surfaced over the years. In her comparisons with friend Linda (Phoebe Cates, Gremlins 2: The New Batch, Drop Dead Fred), Stacy is seen in a sad light, rarely rising to the level of self-acceptance she so wants.

If there’s a faulty character in the bunch, it’s Brad, who shares a number of great moments in the film (and yes, I’m including the scene with Phoebe Cates Moving in Stereo), but overall, his character just doesn’t really go anywhere. I feel like I get what the attempt was, but it wasn’t entirely successful.

Thankfully, the strong writing of Cameron Crowe really impacts this film and peppers quotable and memorable moments throughout that have allowed Fast Times to endure the test of time. I feel like this is a film about high school that stays with you long after high school, and it also feels accessible even for youths that didn’t grow up in the era of its release. It’s a film that feels good to watch, and it’s one that says that yes, we’ve all been there. It has fun with its loose premise and is completely re-watchable. If you haven’t seen Fast Times at Ridgemont High, now is the time to give it a go.

 

4.5/5

-Kyle A. Goethe

 

 

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31 Days of Horror Part II: Day 27 – Vampire in Brooklyn (1995)

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Director: Wes Craven

Cast: Eddie Murphy, Angela Bassett, Allen Payne, Kadeem Hardison, John Witherspoon, Zakes Mokae, Joanna Cassidy

Screenplay: Charlie Murphy, Michael Lucker, Chris Parker

100 mins. Rated R.

 

Many horror directors attempt to cross with comedy at some point, and for me, there are two infamous examples of note: John Carpenter’s Memoirs of an Invisible Man and Wes Craven’s Vampire in Brooklyn. I actually really enjoyed Carpenter’s film, and when I originally saw Vampire in Brooklyn several years back, I liked it too. Sadly, on my most recent viewing, my opinion has shifted drastically.

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Maximillian (Eddie Murphy, Beverly Hills Cop, A Thousand Words) is the last of a line of vampires from the Caribbean. In order to save his bloodline, he needs to find a female born from a native vampire he knew. Detective Rita Veder (Angela Bassett, TV’s American Horror Story, Meet the Robinsons) is that woman, working for the NYPD in Brooklyn. After siring Julius Jones (Kadeem Hardison, White Men Can’t Jump, Made of Honor) to be his personal servant, Maximillian sets out to find his destined love in the urban jungle.

Wes Craven (Scream, A Nightmare on Elm Street) and Eddie Murphy famously fought on set about the tone of the film, and it is the paramount reason why this movie failed so much. Craven wanted a horror film with comedic elements, and Murphy wanted a comedy with horror elements. The clash was the downfall of the film.

Murphy’s Maximillian didn’t have great voicework, and the choice to do his signature multiple roles thing by playing a few other characters that Maximillian disguises himself as didn’t work nearly as well on second viewing.

Craven’s abilities as a director were really called into question during the making of this film, and his work suffered tremendously from studio interference and the uneasy set. It’s sad, because the overall idea seems like a lot of fun. I really like Kadeem Hardison’s portrayal of the decrepit Julius Jones.

I also don’t think the casting of Bassett works in the film. She has the ability to act, but this just isn’t the movie for her.

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I’m happy to see that Craven was able to recover from a film like Vampire in Brooklyn with solid works like Scream and Red Eye, but Eddie Murphy, who blamed everyone else for making a film he knowingly wrote and acted in disappoints me. He claimed that he only did the film was so that he could finish his contract with the studio and focus on other works. I call bullshit, Eddie. You failed but you couldn’t just accept it.

 

2/5

-Kyle A. Goethe

 

For more 31 Days of Horror, click here.

[Happy 20th Birthday!] Bad Boys (1995)

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Director: Michael Bay

Cast: Martin Lawrence, Will Smith, Tea Leoni, Tcheky Karyo, Theresa Randle, Joe Pantoliano

Screenplay: Michael Barrie, Jim Mulholland, Doug Richardson

118 mins. Rated R for intense violent action and pervasive strong language.

 

I just watched Bad Boys for the second time. The first viewing I had was sometime after the sequel, Bad Boys II, was released. I was upset I hadn’t seen the original film and therefore could not witness the explosive spectacle of a film, so I changed that. I watched it. I somehow remember the film being…how do I put it, less terrible?

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Bad Boys is a buddy cop film about partners Marcus Burnett (Martin Lawrence, TV’s Partners, Big Momma’s House) and Mike Lowry (Will Smith, Men in Black, Focus). Burnett is a married man with a couple kids who dreams of less complicated days. Lowry is a newly rich single man who likes to get down and dirty with the ladies. When one of Lowry’s special ones is shot down in a hail of gunfire, her friend Julie (Tea Leoni, TV’s Madam Secretary, Deep Impact) goes to Lowry for help. She ends up believing that Burnett is Lowry and seeking out protection from him. As the two cops play some stupid version of Trading Places, there is also a bad guy doing…something. This is Bad Boys.

Bad Boys is the feature film debut of director Michael Bay (Transformers, Pain & Gain), and it also gives some of his less-awful work, though he still valued explosions over character development (what develops a character more than almost dying constantly, right?).

The two leads have enough chemistry to really build a franchise akin to Lethal Weapon and Beverly Hills Cop, but the script merely bastardizes the two series by ripping them off too much instead of forging a new path for itself, and the mistaken identity Freaky Friday conceit that envelops the film falls flat almost instantly and is drug along for the entire film’s runtime instead of abandoned early on like it should have been.

The villain Fouchet (Tcheky Karyo, TV’s The Missing, The Patriot) is a cardboard cutout with little memorable features. I just watched it and I can’t even really recall his purpose. He is neither fleshed out enough to feel real of sinister enough to be terrifying.

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Michael Bay’s Bad Boys is a bad film. I feel like Lawrence and Smith could play with their buddy cop relationship well if only the script was serviceable enough to give them room to play. For the most part, their talent is completely wasted and overshadowed by the “Things Blowing Up” route Bay’s directing takes them.

 

1.5/5

-Kyle A. Goethe

 

For my review of Michael Bay’s Transformers, click here.

For my review of Michael Bay’s Transformers: Revenge of the Fallen, click here.

For my review of Michael Bay’s Transformers: Dark of the Moon, click here.

For my review of Michael Bay’s Transformers: Age of Extinction, click here.

[Oscar Madness] Beverly Hills Cop II (1987)

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Director: Tony Scott

Cast: Eddie Murphy, Judge Reinhold, Jurgen Prochnow

Screenplay: Larry Ferguson, Warren Skaaren

100 mins. Rated R.

  • Academy Award Nominee: Best Music, Original Song (“Shakedown” by Harold Faltermeyer, Keith Forsey, Bob Seger)

 

When Beverly Hills Cop became a downright hit in 1984, a follow-up became inevitable. At first, the idea of a TV series surfaced, but that was quickly shut down and a film sequel began production. 1987: Beverly Hills Cop II.

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Axel Foley (Eddie Murphy, Trading Spaces, A Thousand Words) is deep undercover back in Detroit to stop illegal credit card scammers when he hears that Lieutenant Bogomil of Beverly Hills has been gunned down by a group of thieves for getting too close. Now it’s off to Beverly Hills to stop them, with the help of Billy Rosewood (Judge Reinhold, The Santa Clause, Dr. Dolittle: Million Dollar Mutts) and John Taggert in this sequel from action director Tony Scott (Top Gun, Man on Fire).

First of all, how does this sequel compare to Beverly Hills Cop? It isn’t technically better, but it is bigger and a little crazier. The level of believability is pushed pretty hard a few times in this film, particularly during a high-speed chase involving a cement mixer. Eddie Murphy, Judge Reinhold, and John Ashton are a great action-comedy trio, providing laughs that come from the story rather than just jumping out of thin air. Jurgen Prochnow (Das Boot, Beerfest) and Brigitte Neilsen make some great villains as well.

I happen to love the Academy-Award Nominated song “Shakedown” and I think it adds to the musical score without completely redefining it. The great qualities of this film come from the fact that the great parts of the original film are kept intact while getting a fuel-injection of energy.

Tony Scott knows how to direct action, and he knows how to let the actors do the work.

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Now, is Axel Foley the next James Bond? Perhaps not. Axel Foley is a fantastic character and Beverly Hills Cop is a fantastic series…also “Shakedown.” “Shakedown” is awesome. That too.

 

4/5

-Kyle A. Goethe

 

For my review of Martin Brest’s Beverly Hills Cop, click here.

[12 Days of Christmas] On the Fourth Day… The Santa Clause (1994)

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Director: John Pasquin

Cast: Tim Allen, Judge Reinhold, Eric Lloyd, Wendy Crewson, David Krumholtz, Peter Boyle

Screenplay: Leo Benvenuti, Steve Rudnick

97 mins. Rated PG for a few crude moments.

 

Killing Santa is kind of morbid. Very few can get through an event like that and still be likable. Scott Calvin (Tim Allen, TV’s Home Improvement, Toy Story 3) tries his best to overcome that nasty hurdle. That is, until he discovers The Santa Clause, a decree that if Santa is killed, one must take up the red coat and beard and continue the job. While this news excites Scott’s son Charlie (Eric Lloyd, Batman & Robin, Chromeskull: Laid to Rest 2), it certainly frightens Scott as well as his ex-wife Laura (Wendy Crewson, Air Force One, Antiviral) and her new husband Neil (Judge Reinhold, Beverly Hills Cop, Dr. Dolittle: Million Dollar Mutts), who both believe that Scott is losing his grip on reality in order to make his son believe in Santa. As Scott continues his transformation into St. Nick in time for the next Christmas Eve, he must come to grips with this new reality and try to salvage his life as Scott Calvin with his life as Kris Kringle.

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The Santa Clause is very much a nice piece of cheese. I end up watching it every year around this time because it’s just a lot of fun. Tim Allen has a lot of fun with this role, keeping it all light-hearted even though the film itself could come off rather morbid. The supporting characters in Crewson and Reinhold ride the line of asshole vs. caring human nicely. Eric Lloyd doesn’t provide much, but his career proves that enough.

The screenplay is rather fun, though the film has definitely aged. It looks aged, but it still is a treat to watch. This Disney film is quite imaginative while also being slightly more grounded than it needed to be. Most of all, The Santa Clause is a movie about responsibility. It’s about taking up your baggage and understanding that the person you need to be may not be the person you wanted to be.

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Worth a couple laughs indeed.

 

3.5/5

-Kyle A. Goethe

[Happy 30th Birthday!] Beverly Hills Cop (1984)

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Director: Martin Brest

Cast: Eddie Murphy, Judge Reinhold, John Ashton

Screenplay: Daniel Petrie, Jr.

105 mins. Rated R.

  • Academy Award Nominee: Best Writing, Screenplay Written Directly for the Screen

 

Can you already hear the song? I know I can, because thirty years ago today, the world was introduced to Axel F, and alongside it, Beverly Hills Cop, a rollicking good time at the movies that doubles as a pretty taut thriller.

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Beverly Hills Cop boasts one of the best soundtracks in motion picture history as it tells the story of Axel Foley (Eddie Murphy, Trading Places, A Thousand Words), a Detroit cop who just got forced into vacation after a close friend with a troubling past is killed right in his apartment. He decides to take his vacation in Beverly Hills and, along the way, try to solve the murder. Aiding him, whether they like it or not and whether or not they know it, are Beverly Hills’ Detective Billy Rosewood (Judge Reinhold, The Santa Clause, Dr. Dolittle: Million Dollar Mutts) and Sargent Taggart (John Ashton, Gone Baby Gone, Middle Men).

Beverly Hills Cop is an early work for major director Martin Brest (Scent of a Woman, Gigli) and boasts some of his craziest attempts at weaving thrilling set pieces with laugh-out-loud, and crazily enough, it works. Murphy is at the top of his game here, absolutely everything he throws at the screen lands perfectly, and he is equally matched by the bumbling (but not over-bumbling) Reinhold and Ashton, a perfect buddy-cop duo if there ever was one.

The screenplay from Daniel Petrie, Jr. (Turner & Hooch, In the Army Now) is a smart and simple one, but never tries too hard to convolute itself. Director Brest is able to work from so many angles here, it is incredible how well it all works together. We believe that Axel Foley is the kind of guy that can weasel his way into the enemy’s office, or into a luxury suite hotel room, or for that matter, evading the arrest and termination of his employment multiple times.

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I have to say that the Beverly Hills Cop grew on me. The first viewing didn’t go as well as I thought it might, but it just sticks with you. The musical work by Harold Faltermeyer and the incredible supporting work from Paul Reiser, Ronny Cox, Steven Berkoff, and Jonathan Banks do not go unnoticed. If you haven’t seen Beverly Hills Cop in its first thirty years, don’t wait another thirty. See it now.

 

4.5/5

-Kyle A. Goethe

Shrek (2001)

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Director: Andrew Adamson, Vicky Jenson

Cast: Mike Myers, Eddie Murphy, Cameron Diaz, John Lithgow

Screenplay: Ted Elliott, Terry Rossio, Joe Stillman, Roger S.H. Schulman

90 mins. Rated PG for mild language and some crude humor.

  • Academy Award Winner: Best Animated Feature
  • Academy Award Nominee: Best Writing, Screenplay Based on Material Previously Published or Produced.

 

It isn’t easy to pull off a family film that stands tall years later. It is tougher to make that film a satire and to have to comedy still funny. Shrek did it. Shrek did it wonderfully.

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Shrek (Mike Myers, TV’s Saturday Night Live, Austin Powers: The Spy Who Shagged Me) is a simple ogre. He has a swamp and a boulder and he likes it that way. The local villagers leave him alone and in turn he keeps to himself. It isn’t until he runs into a talking donkey (Eddie Murphy, Beverly Hills Cop, A Thousand Words) and is sent on a mythical quest to save a princess (Cameron Diaz, There’s Something About Mary, Sex Tape) from a dragon-guarded castle at the behest of the powerful Lord Farquaad (John Lithgow, TV’s 3rd Rock From the Sun, Interstellar) that Shrek truly learns what companionship can do to an ogre.

Shrek is a masterpiece and truly cemented Dreamworks Animation as being a powerful competitor to Disney’s Pixar. The voicework from Myers and Murphy is very strong here. They have a terrific chemistry (or lack thereof) during their scenes together. Lithgow really menaces here; until this movie, I hadn’t really seen anything from him proving that he could be villainous in nature.

Directors Andrew Adamson and Vicky Jenson created a wonderful enthusiasm that both satires and homages classic fairy tales. This was a precursor to shows like Once Upon a Time and Penny Dreadful, where we are treated to an alternate version of classic characters.

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Shrek is a master stroke of genius for family films and just comedies in general. I wish more films targeted at children had the boldness to provide laughs for all ages instead of pandering the way most of them do.

 

5/5

-Kyle A. Goethe

 

For my review of Puss in Boots, click here.

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