Category: 1987

EDDIE MURPHY’S RAW

By Marc S. Sanders

There is no way.  NO WAY that Eddie Murphy’s Raw would ever be produced today.  Nearly every sentence is of the highest caliber offense of any modern day societal belief.  Still, Murphy’s expressions and delivery are lightning in a bottle.  You can’t help but at least grin at his close ups and physicality.

This guy is so incredibly bright that only his comedic stand up monologues could actually feel like you are learning from a college professor who offers up what guys like Bill Cosby, Michael Jackson and Mr. T are really like.  At the same time, he’s somewhat frank with how men and women communicate. It’s comedy.  It’s terribly exaggerated like comedy needs to be, but I can’t deny at least some truth in what Murphy talks about.  If there wasn’t even a fraction of validity in his material, then it would never have been funny, and Eddie Murphy’s career would have ended well before the 1980s came to a close. 

BEVERLY HILLS COP II

By Marc S. Sanders

I know. I know. I SHOULDN’T like this movie, but I do.

Beverly Hills Cop II is a sequel that is really an opportunity to see a wide variety of close ups of an Eddie Murphy who was well in his ‘80s prime, releasing one #1 movie after another. Here the viewer is treated to Murphy’s Axel Foley blowing a kiss to himself in the mirror, laughing to himself, tucking his crotch in his tailor made suit, flipping sunglasses on and off, driving a Ferrari, and shamelessly plugging the Detroit Lions all while trying to stop an “Alphabet Bandit” criminal in Beverly Hills, CA.

So there’s really not much here when all the vanity is on Murphy. Well, then what’s to like?

Considering I’m a fan of director Tony Scott, who uses great cinematography in all of his films with quick, tension filled editing, it’s hard to resist.  Most especially here Scott’s film is accompanied with an exceedingly cool and dangerous soundtrack from Harold Faltermeyer. Just the opening scene alone (without Murphy in it) belongs in a better movie. A robbery at a City Deposit bank and then later at a horse track are so well edited that you might tuck your knees into your chest and chew on your thumbnail. Great stuff from Tony Scott that would eventually carry over in films like Crimson Tide, Enemy Of The State, and one of my very favorites True Romance.

There are other good moments in Beverly Hills Cop II, especially a great scene with Gilbert Gottfried, and a few with Paul Reiser as well as a smirk inducing scene with Hugh Hefner.

I shouldn’t like this movie but sue me. It’s a guilty pleasure for me. However, watch the far superior first installment over this one any day of the week.