Film Review: Beverly Hills Cop (1984)

Also known as: Beverly Drive (script title)
Release Date: December 1st, 1984 (Los Angeles premiere)
Directed by: Martin Brest
Written by: Daniel Petrie Jr., Danilo Bach
Music by: Harold Faltermeyer
Cast: Eddie Murphy, Judge Reinhold, John Ashton, Lisa Elbacher, Ronny Cox, Steven Berkoff, James Russo, Stephen Elliot, Paul Reiser, Jonathan Banks, Gilbert R. Hill, Bronson Pinchot, Damon Wayans

Eddie Murphy Productions, Don Simpson/Jerry Bruckheimer Films, Paramount Pictures, 105 Minutes

Review:

“This is the cleanest and nicest police car I’ve ever been in in my life. This thing’s nicer than my apartment.” – Axel Foley

There weren’t a lot of characters cooler than Axel Foley back when I was a kid in the ’80s. Because of that, this and the second film, were always in constant rotation in my VCR.

I’ve seen this dozens of times but it’s been quite awhile since I saw it last. Having just come off of revisiting and reviewing all the Lethal Weapon films, I wanted to go back and get reacquainted with this trilogy, as well as the two 48 Hours movies. Reviews for all these Eddie Murphy action comedies will be up over the next few weeks.

Anyway, this movie holds up well and its still pretty enjoyable.

Eddie Murphy is at his absolute best in this and the film really shows how much of a star he was in his prime. About midway through the ’90s, he started to fall off and lose his touch but I’d say that’s more about the roles he chose over his talent because Beverly Hills Cop makes it pretty clear that the guy is stellar with perfect comedic timing, unlimited charm and the ability to have to be serious when the moment calls for it. This film showcases all of his strengths quite well and it is still my favorite Murphy movie.

Adding to his awesome performance is the rest of the cast, all of whom are also solid in this. I especially like Judge Reinhold, who, unfortunately, also fell off after the ’80s. Here, he is able to play the lovable and inexperienced straightman to Murphy’s fun antics. Although, Reinhold does get in on the fun too and frankly, Murphy and Reinhold have great chemistry and it’s that chemistry that makes these movies so good.

John Ashton and Ronny Cox are perfect in their roles and with Cox, it’s really great seeing him play an honest good guy because he’s such a great asshole when he wants to be. I love this version of Ronny Cox even though his performance as Dick Jones in RoboCop gave us one of the best movie villains of the ’80s.

The picture also benefits from an incredible ’80s pop soundtrack, as well as one of the best instrumental scores of its era.

This is action packed, hilarious, doesn’t take itself too seriously but delivers in everything it set out to do.

Overall, this movie is just a lot of fun and it should brighten any bad day because Murphy, at his absolute best, is amusing, entertaining, exciting and a real pleasure to watch. And this is, certainly, one of his best.

Rating: 9/10
Pairs well with: the other Beverly Hills Cop movies, as well as the 48 Hours and Lethal Weapon films.

Film Review: Once Upon A Time In America (1984)

Also known as: C’era una volta in America (original Italian title)
Release Date: May 20th, 1984 (Cannes)
Directed by: Sergio Leone
Written by: Leonardo Benvenuti, Piero De Bernardi, Enrico Medioli, Franco Arcalli, Franco Ferrini, Sergio Leone
Based on: The Hoods by Harry Grey
Music by: Ennio Morricone
Cast: Robert De Niro, James Woods, Elizabeth McGovern, Joe Pesci, Burt Young, Tuesday Weld, Treat Williams, Scott Tiler, Rusty Jacobs, Jennifer Connelly, Danny Aiello, William Forsythe, Adrian Curran, James Hayden, Brian Bloom, Darlanne Fluegel, Mario Brega, Estelle Harris, James Russo, Louise Fletcher (only in 2012 restoration)

The Ladd Company, Embassy International Pictures, PSO Enterprises, Rafran Cinematografic, Warner Bros., Titanus, 229 Minutes (original), 139 Minutes (original US release)

Review:

“Age can wither me, Noodles. We’re both getting old. All that we have left now are our memories. If you go to that party on Saturday night, you won’t have those anymore. Tear up that invitation.” – Deborah Gelly

I tried watching this about fifteen years ago but if I’m being completely honest, it bored me to tears. And I’m speaking as a guy that has a deep love for the films of Sergio Leone, a man who sits among the best in my Holy Trinity of Motion Picture Directors. The other two being Akira Kurosawa and Stanley Kubrick, naturally.

So years later, I felt that I really needed to revisit this, as maybe I wasn’t in the right head space and because I generally have a hard time sitting through movies that feel like they could take up an entire day. Well, this took up an entire afternoon and I did have to take a halftime break and make a ribeye.

But regardless of that, I really enjoyed this picture and I can’t deny that it is one of Leone’s best. In fact, I may have to edit my rankings of his films, as I would now put this third behind The Good, The Bad and The Ugly and Once Upon A Time In the West.

What’s interesting, is that this movie has more in common with Francis Ford Coppola’s The Godfather trilogy than Leone’s own pictures, which were mostly top tier spaghetti westerns. But like his westerns, he also employs the talents of musical maestro Ennio Morricone, who gives real life to the motion picture full of mostly understated performances.

This movie is incredibly slow paced but it’s that kind of slow pace that is more like a slow simmering stew of perfection than the chef accidentally setting the burner too low and walking away.

As far as the acting goes, this is a superb film. Robert De Niro and James Woods own every scene that they’re in. However, the supporting cast is also stupendous, especially the child actors, who play the main characters in lengthy flashback sequences.

This is also compelling in that it is full of unlikable, despicable characters yet you are lured into their world and you do find yourself caring where this is all going and how life will play out for these characters. You never like them but that’s kind of what makes this story so intriguing. With The Godfather‘s Michael Corleone, there were things you could connect with and respect about the man, despite his crimes. In Once Upon A Time In America, you don’t really have moments with these characters that humanizes them all that much, in fact it does just the opposite of that. I can see where that might be bothersome to some people but we also live in a world where people saw Walter White from Breaking Bad as some sort of hero.

Once Upon A Time In America also shines in regard to its visual components. It’s a period piece that covers different periods, all of which come off as authentic, even if the city sometimes looks more like it was shot in Europe (some of it was) than truly being Depression Era New York City. But the sets and the location shooting all worked well and this picture boasts some incredible cinematography. It should be very apparent to fans of Leone that he’s taken what he’s learned making fabulous movies and found a way to perfect it, in a visual sense, even more with this, his final picture.

There’s not a whole lot I can pick apart about the movie, other than the pacing being slow. But again, it’s not a painful slow and it certainly isn’t full of pointless filler and exposition. Every frame of this movie needs to exist. But maybe take some breaks or just approach the film like you’re binge watching a short season of a TV show.

Rating: 9.5/10
Pairs well with: Sergio Leone’s other films but this has a lot in common with Francis Ford Coppola’s The Godfather films.

Film Review: Fast Times at Ridgemont High (1982)

Also known as: Fast Times (working title, informal title)
Release Date: August 13th, 1982
Directed by: Amy Heckerling
Written by: Cameron Crowe
Based on: Fast Times at Ridgemont High: A True Story by Cameron Crowe
Music by: various pop bands
Cast: Sean Penn, Jennifer Jason Leigh, Judge Reinhold, Phoebe Cates, Brian Backer, Robert Romanus, Ray Walston, Amanda Wyss, Forest Whitaker, Vincent Schiavelli, Lana Clarkson, Eric Stoltz, Anthony Edwards, Nicolas Cage, Kelli Maroney, Scott Thomson, Taylor Negron, Lana Clarkson, James Russo, Pamela Springsteen

Refugee Films, Universal Pictures, 90 Minutes

Review:

“Why don’t you get a job, Spicoli?” – Brad Hamilton, “What for?” – Jeff Spicoli, “You need money.” – Brad Hamilton, “All I need are some tasty waves, a cool buzz and I’m fine.” – Jeff Spicoli

Teen sex comedies were all the rage in the early 1980s. However, unlike all the others, Fast Times at Ridgemont High was much more than just a teen sex comedy. It was a film with purpose, heart and characters that you actually cared for and felt connected to. It had high drama, human emotion but it was still true to the spirit of the genre it was actually better than.

There were several factors that contributed to this movie being better than one would expect at first glance.

First, the story came from a book written by Cameron Crowe, who spent some time undercover in high school to capture the real lives of the teenagers around him. The book was full of true stories, which got adapted into this fictional movie tale. Crowe’s work gave this film a sense of realism and human emotion that other films like it were lacking.

Also, this was directed by Amy Heckerling and even though it was her first feature film, she was young, hip and connected to a lot of cool people at the time. She gave this picture a sort of life and energy that it wouldn’t have had otherwise. She also pulls off similar magic with 1995’s beloved teen comedy Clueless.

Additionally, this film benefits from having an incredible cast for its time. It has Sean Penn, just before he became a superstar, as well as Jennifer Jason Leigh, one of the best actresses of her generation. The shy kind of nerdy character was played by Brian Backer, who had already won a Tony Award the year before for his leading role in Woody Allen’s The Floating Light Bulb on Broadway. You’ve also got quintessential ’80s cool guy Judge Reinhold, the always lovable Phoebe Cates, Robert Romanus, future Academy Award winner Forest Whitaker, Nicolas Cage, Eric Stoltz, Anthony Edwards, Amanda Wyss, Kelli Maroney, Scott Thomson, as well as veterans Ray Walston and Vincent Schiavelli. How many other ’80s teen sex comedies can boast a lineup that impressive? And this didn’t even have a single person from the Brat Pack in it.

The film is well balanced between all of its main characters. It also doesn’t showcase the token stoner as just a token stoner. The chemistry between Penn’s Spicoli and Walston’s Mr. Hand is fabulous and makes for some of the best moments in the film. Seeing Walston go that extra step for a student that most teachers would just roll their eyes at is both sweet and refreshing. I could’ve watched a spinoff movie of just Spicoli and Mr. Hand and been happy, even if it had a lackluster script.

I also loved the chemistry between best buds Mark Ratner (Backer) and Mike Damone (Romanus). The shy Ratner needs Damone’s help in getting with the ladies and their exchanges are hilarious and entertaining. Life throws these best buds a curveball though but it was great seeing real friendship conquer all.

There are several good stories sprinkled throughout this ensemble piece. And it is sort of timeless in that the jokes still work, the characters are amusing and even though this gets very serious at points, it is never short on laughs and keeps things generally lighthearted.

It also has one of the best soundtracks of its decade.

Fast Times at Ridgemont High is a perfect template on how to create a teen coming of age movie. Sure, it is sex heavy, as it was the ’80s, but it’s light-years more mature than similar films like Private School and The Last American Virgin.

Rating: 9.5/10
Pairs well with: Dazed and ConfusedThe Last American Virgin and Private School. Also, Gremlins, as that features both Phoebe Cates and Judge Reinhold. Plus, Clueless, another teen coming of age comedy directed by Heckerling.