By Matt Fleming and Jarrod Jones. This is the ANTI-MONITOR podcast, where we were not disturbing the peace, we were just thrown through a ding-dang window. This week, the boys revisit Martin Brest’s ‘Beverly Hills Cop’, a film that cemented Eddie Murphy’s place as the Eighties’ biggest movie star, and ultimately our biggest, saddest regret. But before they get into all the profane, R-rated action, they discuss the runaway success of ‘Deadpool’ and what it means for the imminent future of superhero films.

As always, be wary for spoilers throughout, and please enjoy.


ANTI-MONITOR: MATT — Hollywood in the 1980s hadn’t quite unlocked the formula for printing money that exists today. They had yet to learn that shoving PG-13 fare onto masses throughout America (and especially overseas) was the trick to keeping their ledgers in the black. No, the Eighties was a breeding ground for the fabled R-rated comedies of my childhood, and Beverly Hills Cop is certainly held high in those annals. Peak Eddie Murphy takes a decent script and molds it in his own image, creating a cop archetype for funny actors to roll with for years to come.

Beverly Hills Cop is no masterpiece, but as a vehicle for Murphy’s talents it withstands a convoluted smuggling plot and an unbalanced supporting cast. This is the movie that turned Judge Reinhold into a guy who could sit at the big kids table, which would eventually lead to his turn as Murphy’s number two in the third Cop outing (for better or worse). Comedies for adults don’t need to be 90-minute dick jokes, but with a charismatic star like Eddie Murphy in 1984, you can make the foul-mouthed bullshit sing.

ANTI-MONITOR: JARROD — When I was a kid, I had yet to unlock the vault of reason as to why I was so attracted to the comedy stylings of George Carlin, Rodney Dangerfield, and Eddie Murphy. I didn’t quite understand all of the on-the-nose observations of the society that cradled my younger self, and I had yet to discover what ‘sex’ actually meant, let alone all the blue humor Murphy et al were throwing over my head. All I knew was that it was decidedly funnier than my daily diet of Garfield strips, episodes of Ren & Stimpy, and that dingus of a kid I used to hang out with after school.

Beverly Hills Cop was one of those movies I can remember listening to from my bedroom, far away from the living room where my mother and her girlfriends would cackle and thrill to the exploits of all that ‘R’-rated goodness. I knew I was missing out. But I’d be damned if I wasn’t going to find out what it was, exactly, that I was missing out on. And so, after a covert screening of that rented VHS tape — watching Eddie Murphy become my newest hero in the process — Beverly Hills Cop suddenly became legend in my world, as it did for literally everybody else.

It hasn’t aged as well as it could have, and seeing Eddie Murphy tap into his considerable wells of charisma after decades of phoning it in makes the sting that is late-career Murphy hurt that much more. But Beverly Hills Cop remains vital entertainment. Now, if somebody can explain to me why Paul Riser is in this thing.

CONSENSUS: — A peak-career performance from Eddie Murphy makes Beverly Hills Cop more than a vintage curiosity, it makes it essential entertainment. — 6.5 out of 10

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