‘Another 48 Hrs’ With Bill Simmons Chris Ryan, and Van Lathan

Summary

The Rewatchables: "Another 48 Hrs"

Host: Bill Simmons
Guests: Chris Ryan ("CR"), Van Lathan, Craig
Date: January 22, 2026

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Episode Overview

This episode of The Rewatchables dives into "Another 48 Hrs" (1990), the much-debated sequel to the classic buddy-cop film. Bill Simmons, Chris Ryan, and Van Lathan explore the movie's troubled production, Eddie Murphy's career crossroad, Nick Nolte’s unexpected second act, and why—despite its flaws—the film remains oddly irresistible. The episode balances nostalgia, film criticism, behind-the-scenes lore, and signature Rewatchables humor.

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Key Discussion Points and Insights

1. Why Does Bill Keep Watching This Movie?

• Bill calls it a “karaoke sequel”—it hits the same beats as the original but with less energy and sense. Still, he can’t stop rewatching:

  “It feels like the same movie. It’s not as good, and yet I always watch it when it’s on. Why?” (04:56)

• Van saw "Another 48 Hrs" before the original, making his impression softer, but even he concedes the first is "like the fucking Godfather" by comparison. (05:24)

2. Eddie Murphy: Apex and Aftermath

• The crew delves deeply into Eddie Murphy’s stardom, the pressures of being a Black superstar, and his eventual retreat from stand-up and risky roles:

  • Bill:

    "This is the most fascinating time for Eddie, where he's as successful as he's ever going to be...and he's just miserable." (11:08)

  • Cites Murphy's own words about post-Harlem Nights career anxiety:

    “After doing a picture that was viewed as a shitty movie, I should have done a movie that was great as opposed to a movie that was all right.” (Eddie Murphy via Spin Magazine, 12:00)

  • Van on Eddie’s burden:

    "There's a whole other part...that stars do not have to deal with. Like white stars. ... At the end he's like, 'I just want to entertain.'" (13:22)

• Discussion of Eddie’s career choices post-1990: more lay-up comedies, less creative risk; “the Nutty Professor and Dr. Doolittle years” (14:30).

• They speculate on why he never returned to stand-up:

  • "There are not enough seats in the world for him to step on stage and people not to come." (Van, 14:14)

3. Nick Nolte’s Career: Nolte-Sance?

• Van argues "Another 48 Hrs" is the end of Eddie's peak, but possibly the launch of Nolte’s prestige run:

  • "...but you can argue that it's the beginning of the Nolte-sans." (06:55)

• Nolte’s next five years: Cape Fear, Prince Of Tides, Lorenzo's Oil, The Player—his critical ascent as Eddie’s star wanes.

4. The Butchered Cut

• The film’s nonsensical plot is explained: it was originally a 2.5-hour movie, cut to 95 minutes at the last minute to mimic "Total Recall's" successful runtime:
  • Bill:

    "Paramount panicked...and they just fucking brought the chainsaw out and chopped it." (33:26)

  • CR:

    "Definitely chopped this thing to shit. ... 25 minutes is like six scenes." (33:52)

5. Race, Fame, and Responsibility

• Bill references a revealing interview Murphy did with Spike Lee about the pressure to “use his power” and help others ("Why doesn't Eddie use his power? ... There's a tremendous amount of weight on him as a star.") (12:56-13:32)

• Discussion of representation and Eddie’s outspoken turn at the 1989 Oscars, feeling “too much was on my plate.” (16:27)

6. Buddy-Cop DNA and Legacy

• Van presents his canonical list of top Black/White movie duos (Running Scared, 48 Hrs, Pulp Fiction’s Vincent and Jules, White Men Can't Jump, Lethal Weapon), ultimately giving the title to Riggs and Murtaugh but admitting 48 Hrs is the "Dr. J" of the genre. (77:57-78:33)

• CR proposes the modern version is overdue:

  "Stars need to be more comfortable making movies like this because it's fun." (104:10)

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Notable Quotes & Memorable Moments (With Timestamps)

• Bill on movie’s flawed rewatchability:

  "This is a movie that drives me crazy, and yet I feel like I've seen it 30 times." (03:19)

• Van on Murphy’s pressures:

  "There's business, there's expectation, there are deals... and then there's this whole other part... that stars do, do not have to deal with. Like white stars." (13:22)

• CR on the sequel’s betrayal:

  "You feel the way about Another 48 Hours the way some people feel about the end of Game Of Thrones. ... This movie betrayed you." (04:02)

• Nolte’s mid-career “clean up”:

  "He looks a lot better in this movie than he did in the first one." (07:59)

• Bill on how the sequel’s plot gets mangled:

  "A week before the release, Paramount panicked...and they just fucking brought the chainsaw out and chopped it." (33:26)

• Van’s pitch for a prison transport film:

  "Prison transport bus gets attacked by fucking vampires." (50:19)

• CR on "karaoke sequels":

  "There's a couple things they do in this movie. ... Why didn't somebody on the set stop this?" (75:48)

• Van’s canonical buddy-cop list (and regret about Mel Gibson):

  "Number one is so fucking easy. It's Murtaugh and Riggs... Why fucking Mel, did you do it?" (77:50)

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Episode Structure & Key Segments

0:00-4:00 — Housekeeping and Opening Thoughts

• Introduction; joking about podcast swaps, upcoming plans, and quick allusions to the Zodiac episode.
• Lead-in to "Another 48 Hrs," its infamous status as a love/hate sequel.

4:00-10:00 — Sequel Critique & Nostalgia

• "Karaoke sequel" breakdown—spotting recycled scenes, lines, and scenarios.
• Panel's varying personal histories with the movie.

10:00-30:00 — Eddie Murphy & Cultural Context

• Extensive analysis of Eddie’s career arc.
• Quotes from period Rolling Stone and Spin pieces.
• The challenge of being a pathbreaking Black A-list star.

30:00-39:00 — The Butchered Cut

• Insider info: the original version was 2.5 hours, cut for runtime, explaining missing plot threads.
• Host and guests lament missing footage, muse about director’s cut.

39:00-56:00 — Walter Hill, Action Craft, and Supporting Cast

• Breakdown of Walter Hill’s direction.
• Fun tangents on Walter Hill’s filmography ("The Warriors," "Trespass," etc.).
• “That Guy” actors in the supporting cast.

56:00-1:16:00 — Signature Rewatchables Segments

• Most rewatchable scenes: the bus attack, hospital explosion, bar fights, stunts.
• Classic Rewatchables "picking nits"—guns with infinite bullets, missing plot logic, continuity.
• Fun “what’s aged best/worst”: 1990s cop talk, convertibles, villain tropes, beer brands.

1:16:00-1:28:00 — Categories, Awards, and Flexes

• Scene-stealing performances and stunts.
• Walter Hill’s visual style.
• Fresh awards invented on-air (e.g., “Rickety Guard Meet Award” for the most random bystander death).

1:28:00-1:46:00 — Director’s Cuts, Buddy Movies, Modern Parallels

• “Release the Walter Cut!” segment: call for the 2.5-hour version to surface.
• Who would be the modern Murphy/Nolte? (Cam Paterson, Shane Gillis, Michael B. Jordan, Timothée Chalamet, etc.)
• Tangents on other “release the cut” movies (e.g., “Kingdom Of Heaven,” “Eyes Wide Shut”).

Memorable Category Winners

• Most 1990 Thing: Miller Genuine Draft, stage of Eddie Murphy’s career, convertibles, cop talk.
• Best Scene/Needle Drop: The Bird Cage strip club sequence; the hospital explosion; Eddie’s payphone hustle; action setpieces.
• Villain Ranking: Panel welcomes "Cherry Gans" as an awesomely one-note, truly psychopathic bad guy—a type they miss.
• Biggest Nit: The Iceman/Kehoe plot twist: even for a pulp sequel, it makes no internal sense.

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Notable Insights

• A Mirror to Murphy & Nolte's Careers: The movie unintentionally chronicles the passing of the torch—from Murphy at his apex and burnout to Nolte's ascension to critical darling. Their careers are “ships passing in the night one more time, like in this film” (Van, 07:29).
• Behind the Scenes Turmoil: Most issues in the film—from dangling plot threads to underwritten supporting cast—are blamed on last-minute studio edits.
• Representation & Burden: Extensive and thoughtful discussion on how Eddie, during his peak, carried additional symbolic and cultural weight that shaped both his on-screen and off-screen choices.
• Sequel Clichés and Why We Love Them: Despite (or because of) obvious flaws, the formulaic pleasures of 1990s buddy-cop action, when done with charisma, are still catnip for the Rewatchables crew.

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Timestamps for Important Segments

• 04:23 – CR on fan betrayal and sequel nostalgia
• 11:08 – Bill on Eddie Murphy’s career crossroads
• 12:24 – Van on Murphy’s unique burden as a Black superstar
• 33:26 – The major plot hack job revealed
• 56:03 – Tangent about the 1969 moon landing (Van mocks Bill’s skepticism)
• 77:57 – Van Lathan’s Top 5 Black/White Buddy Cop Partnerships
• 80:03 – “Release the Walter Hill Cut!”
• 87:12 – Best quotes (Eddie’s lines, Reggie’s jokes, classic insult banter)

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Episode Tone

Irreverent, deeply nostalgic, laced with inside jokes, tangents, hot takes, and self-deprecating humor. The hosts shift between film historian, comedian, fan, and critic with infectious camaraderie.

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Useful for New Listeners

This summary covers episode structure, major themes, and how this (maligned) sequel serves as a microcosm of both the buddy-cop genre—and of 1990s changes in Hollywood. It illuminates the pressures Eddie Murphy faced, celebrates the goofy pleasures of action formulas, and offers both expert movie trivia and contemporary pop culture parallels. The chemistry between Bill, CR, and Van is pure Rewatchables gold throughout.

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For more, check out future Rewatchables episodes—especially the upcoming "Zodiac"—as the crew continues to pair deep-dive criticism with love for big, messy, endlessly rewatchable movies.

Transcript

[Bill Simmons]

This episode is brought to you by Dead Man's Wire, the new film from RO K Entertainment. We love all kinds of movies here on the Rewatchables, but sometimes the true stories can be the most thrilling. Like Zodiac, a movie that we did a long time ago that I wasn't on. And I want to be on that podcast again, but a classic, just diving into something that. Wait, did this happen? How much of this is true? You're immersed because it's believable. The whole thing. Well, Dead Man's Wire, the incredible true story of the 1977 kidnapping that turned an aspiring entrepreneur into an outlaw folk hero. Directed by legendary filmmaker Gus Van Sant, who has been on this podcast multiple times for his movies. Starring Bill Skarsgrd, Dacre Montgomery, Cary Elwes. In My halla with Colman Domingo and Al Pacino. I've heard of him. Now playing in select theaters everywhere. January 16th. This episode is brought to you by Slack. You know that coworker who's always prepared, always helpful, and somehow never needs a recap meeting? That is Slackbot. Slackbot is an AI assistant built directly into Slack, so it already understands your projects, your files, your conversations from day one. You don't teach it anything. You just talk to it like a teammate. No setup, no extra tools. Just an always on, always there for you. AI assistant ready to help. Learn [e-mail] meet Slack slackbot. The rewatchable is brought to you by the Ringer podcast network, where you can find higher learning with Van Lathan.

[Van Lathan]

Yep. Yep.

[Bill Simmons]

You can find the Ringer college football tailgate show. That is almost over, right?

[Sierra]

It's Ringer tailgate.

[Van Lathan]

It's Ringer tailgate.

[Bill Simmons]

Ringer tailgate.

[Van Lathan]

It's actually not almost over.

[Bill Simmons]

What do you mean?

[Van Lathan]

I mean, we're going during the off season.

[Sierra]

Are you guys really?

[Bill Simmons]

Are you really?

[Van Lathan]

There's a lot of things to cover during the offseason.

[Sierra]

Are you gonna rank, like, campuses and stuff like that?

[Van Lathan]

Recruiting classes, transfer portal. Spring games will be March. We're gonna cover just one episode a week, but we're continuing.

[Bill Simmons]

What a fun pod for us. And then also Midnight boys. Pew, pew, pew, pew. Chris Ryan, the Watch. Sandman's over. What's next for you? House of Dragon?

[Sierra]

Industry night. Kingdom Kingdom.

[Bill Simmons]

Tough industry episode for Jon Snow this week, I think.

[Sierra]

Or was it a great episode? Or was it a great episode and.

[Bill Simmons]

He just needed to punch a guy to near death before he could have sex again?

[Sierra]

That's what British aristocracy does.

[Bill Simmons]

Yeah. This is our last rewatchables that is going to be on YouTube because the next one will be on Netflix on Monday. And we're going to do Zodiac. We're going to try to do, at least for the first couple months, movies that are also on Netflix. So you can watch the movie on Netflix and then watch the pod. So we're doing the re Zodiac next week?

[Sierra]

Yes, the re Zodiac.

[Bill Simmons]

I wasn't on the first one. You're not a Zodiac guy.

[Van Lathan]

I mean, I like the movie. It's a good movie. It's very intense. But it's very important to the Marvel Cinematic Universe.

[Bill Simmons]

Why is that?

[Van Lathan]

Because Zodiac is a part of the reestablishing of the career of Robert Downey Jr. Oh, yeah.

[Bill Simmons]

Okay.

[Sierra]

He's viable again.

[Van Lathan]

He's viable again. And then you have Kiss Kiss Bang Bang in there somewhere. He comes back kind of with, like, the Singing Detective, some movies like that. But. But we talk about it all the time. Whenever we have a conversation about him. If try to think of somebody who Hollywood was out on or is out on right now, that's how out they were on him. And then he worked his way back.

[Bill Simmons]

All right, well, Eddie Murphy in a different point of his career in another 48 hours. This is one for us week. We dated just one of the guys on Monday. Another 48 Hours, a movie that we've complained about and talked about forever. And it's next. All right, so a couple months ago, you guys were actually on the pod. I talked about the sequel ideas that made me the maddest in the history of mankind. And number one on the list was another 48 hours. Keo becoming the Iceman. And this is a movie that drives me crazy, and yet I feel like I've seen it 30 times.

[Sierra]

You know what you feel the way about another 48 hours, the way some people feel about the end of Game of Thrones. It's like you're such a keeper of the lore. You understand the landscape of the law enforcement and criminal underworld of San Francisco in the early 80s as told by 48 Hours. And this movie betrayed you. This movie stabbed you right in the heart.

[Bill Simmons]

Yet I keep watching it over and over again because I like having my guys back. I wrote down it's a karaoke sequel. Van. Same music, similar opening, two bar scenes. There's a hotel shootout. Jack Cate says, call for help. Now rips that off again. We have Eddie singing Roseanne. We have Jack shooting at Reggie at the end.

[Sierra]

Roxanne.

[Bill Simmons]

Roxanne.

[Sierra]

Roseanne.

[Craig]

I wrote Roseanne for some reason.

[Sierra]

My notes.

[Bill Simmons]

Roxanne Jack's shooting Reggie at the end, the lighter switch ending, and the busboys.

[Van Lathan]

Yeah.

[Bill Simmons]

So it's basically like all the staples. It feels like the same movie. It's not as good, and yet I always watch it when it's on. Why?

[Van Lathan]

Yeah. Well, for me, this was another sequel. First movie I saw this one before I saw the second one. So it's always tough to kind of go back when you see this one.

[Sierra]

Not entirely sure. I'm not the same way. I can't remember. But I may have seen another before 48.

[Van Lathan]

Right.

[Bill Simmons]

Because this came out in 1990, so that's conceivable. You guys saw this first.

[Van Lathan]

So when you go back and watch the first one after you've seen this one, the first one seems like the fucking Godfather. It seems like a very serious. I mean, it does, but this one is a movie that's like. It moves very fast. It's pretty fun. It's incredibly violent. Like when you're 10 or 9 or 10 years old in the 80s, like I was at this point, these are the kind of movies that you're watching. And Eddie Murphy is such a gigantic star that he can kind of, through gravity, pull a movie to its end. When you go back and watch the first one, he. It's not as oriented around him. The movie takes itself a lot more seriously. It's a completely different. It's funny, but it's a totally different movie.

[Bill Simmons]

And he almost got fired on the first one after two weeks, and they couldn't really figure him out. He'd never been on a movie before. He didn't really know how to act. And then they figured out how to use his improvisation. Just like cute. By the time we do this, he's the first guy listed in the movie. It's built around him. He's had seven number one hits in a row. This was the last one that became number one opening weekend. And he's the biggest movie star we have. And this is kind of when it ends. CR.

[Sierra]

Well, yeah, I mean, I think that this movie is an interesting what if. And an interesting kind of crossroads for him because we'll talk about how there is a lost version of this film. And if this movie winds up having a more critically favorable reception and if it winds up doing better at the box. I mean, it did pretty well at the box office, but if it has, like, a warmer reception, you wonder what is different about Murphy. Post another 48 hours.

[Van Lathan]

Can I ask a question, like, about what you guys think about this take? Whether or not this. This Is I can't think of another movie. This is kind of the end of the Edison. But you can argue that it's the beginning of the Nolte. Sans. Like, Nolte is already pretty well established. But like, after this, you go, Cape Fear, the Prince of Tides, Lorenzo's Oil, the Player. I'll do anything. Blue Chips, like, he really goes on a run now. Before this, they're movies that we all love. Three Fugitives I love. Down and out in Beverly Hills might be my favorite. Nick Nolte, what year was that?

[Bill Simmons]

That was like 88.

[Van Lathan]

Down and out in Beverly Hills is 86. Okay, so I mean, that's three years. Nick Nolte is already a big star, but he goes up to another level in terms of prestige in the next four or five or six years. And it's interesting that they are kind of ships passing in the night one more time, like in this film.

[Bill Simmons]

Yeah, and I think he cleaned up his act too, right, Sierra?

[Sierra]

I mean, he definitely. I definitely think that's because I remember the.

[Bill Simmons]

The famous Saturday LIVE story where Eddie hosted. Because Nick Nolte partied so hard that week, he couldn't host the show. He basically called in sick.

[Sierra]

He looks a lot better in this movie than he did in the first one.

[Bill Simmons]

Even said, yeah, I quit drinking.

[Van Lathan]

Yeah, Eddie remarks. He goes, yeah, what happened?

[Bill Simmons]

Yeah, you're right. Because he does. Yeah. He didn't really have anything before this. And you're right. Prince of Tides was a big one for him.

[Van Lathan]

That's a huge one. I mean, he became people's sexiest man alive.

[Bill Simmons]

Blue Chips was kind of where the wheels started to go.

[Van Lathan]

Blue Chips is where he kind of.

[Bill Simmons]

Four year run for him.

[Van Lathan]

Blue Chips, I love Trouble. And then he takes a big swing with Jefferson in Paris. Yeah, and that kind of doesn't really.

[Sierra]

Work, you know, it's also like the movie industry itself kind of turns towards guys like Nolte and you have these adult dramas and adults comedies that are. He's capable of leading. And I think that makes a big difference.

[Bill Simmons]

That's two thirds of it. The other third was the Julia Roberts movie that bombed. Sure. I love Trouble. It was like one of the most famous bombs of the 90s. And they hated each other. I think he started to get a reputation musical.

[Sierra]

There's like a whole Prince soundtrack really bad.

[Bill Simmons]

I think that really set him back. And he got passed by a bunch of white dudes that were younger than him and were grabbing the parts.

[Sierra]

Happens to the best of us.

[Van Lathan]

Once people think that you're sexy. Once people think that you are kind of, well, oh, he's got this grizzled sexiness to him. That's when you go take your shot at the rom com. And if you were gonna take your shot with the rom com at that point, you're gonna take your shot with Julia Roberts, maybe, maybe it's a little early, maybe Meg Ryan, maybe somebody like that, but you gotta take that shot. And it didn't work for him. Cause he can't pull that off.

[Bill Simmons]

It felt like in the 70s, him and Jeff Bridges were vying to be like the biggest heartthrobs going forward. And neither of them totally made it as that kind of actor.

[Sierra]

Yeah. I think that because Bridges had had.

[Bill Simmons]

King Kong, Nick Nolte, who was in Rich Man, Poor man and North Dallas 40 and just felt like he was going to become.

[Sierra]

It's not uncommon to see actors basically start out really hot. They're like kind of heartthrob young. And then there's like this middle period where they're just sort of like, nobody's taking me seriously enough. This happened to McConaughey recently enough.

[Bill Simmons]

Right.

[Sierra]

I think he felt like he was sort of trapped in rom coms and adventure movies. And it wasn't until Dallas Buyers Club and True Detective and he to lose 50 pounds. Well, yeah, that happens after. Like he's a rock star by the time Interstellar comes around.

[Van Lathan]

So Interstellar is before or after Dallas?

[Bill Simmons]

It all starts with Dallas Buyers Club when he loses the weight and wins the Oscar. Yeah. And then that opens up all this other stuff. Lesson is always if you lose £50 and you can somehow still live and be in a decent movie, great things are going to happen. Eddie Murphy, this is his seventh rewatchable, which moves him into the official like the standings in the newspaper. He's tied with Bruce Willis, Arnold Schwarzenegger, Leo Douglas, Ethan Hawk and Renee Russo. Ethan Hawk, Renee Russo, Rene. Renee Russo was seven. It's just trailing Costner, Hoffman, Julie Roberts and Hackman by one.

[Van Lathan]

Now under underappreciated actress.

[Sierra]

We got to do Nightcrawler soon so that we can get Renee back up, get our numbers up.

[Bill Simmons]

I honestly wanted to beef up his stats beyond argue about this movie and all the behind the scenes stuff that I think's fascinating about it. But I sent Van the Spin magazine article. It was an interview with Spike Lee and Eddie Murphy. There's another Rolling Stone article. Did I send that one to you?

[Sierra]

No.

[Bill Simmons]

There's a Rolling Stone profile of him around then. This is the most Fascinating time for Eddie, where he's as successful as he's ever going to be. He's as wealthy. You know, he's set for life. Yeah, he's minted. He's the biggest. It's him. Michael Jackson, Michael Jordan and Mike Tyson are basically the four biggest celebrities, I think. And he's just miserable. And it's the classic, like, everyone's against me. What do I do now? And it comes out in these two pieces. And he talks about this movie, and he says, he said this to Spin magazine after the movie came out. And he said the critical response to another 40 hours. I thought the movie was all right. And after doing a picture that was received both commercially and critically as fucked up as Harlem Nights was, after doing a picture that was viewed as a shitty movie, I should have done a movie that was great as opposed to a movie that was all right. So he kind of knows it didn't hit the way it hit, and there's real reasons for that.

[Craig]

Yeah.

[Bill Simmons]

But I also feel like this happens sometimes with musicians, happens with athletes. We saw this happen in lebron.

[Sierra]

Happened to AJ Brown. He won the Super Bowl. He's like, I feel hollow.

[Bill Simmons]

What happened to Josh Allen right now?

[Van Lathan]

Oh, poor Josh Allen.

[Bill Simmons]

I can't. I'm doing great, but I can't win. And it feels like you could feel it in that piece with Spike. Right.

[Van Lathan]

This was one of the most angsty, revealing pieces I've ever read on a celebrity. I cannot believe I have never read this before. Between him and Spike, there's three things happening. Number one, Eddie Murphy is dealing with being this gigantic star and the professional and social responsibility of that. Spike is there as sort of your straight man telling Eddie Murphy at different times what he thinks Eddie Murphy's responsibility should be. Right.

[Bill Simmons]

And he had also been critical publicly of him before that Spike had been.

[Van Lathan]

He has been critical of almost everyone.

[Bill Simmons]

Yeah. But especially in 89. It's like, why doesn't Eddie use his power?

[Van Lathan]

Why doesn't Eddie use his power? He's like, eddie, shouldn't you be getting more people hired at studios and stuff? And Eddie is talking about the fact that there's just a tremendous amount of weight on him as a star. Like, fuck, being as the biggest black star in the town.

[Sierra]

Sure.

[Van Lathan]

Just as a star, as an entity, there's business, there's expectation, there are deals.

[Bill Simmons]

And he's talking about there's family that want money on that shit.

[Van Lathan]

He's talking about the fact that there's this and then there's this whole Other part of it that stars do, do not have to deal with. Like white stars. Right. And at the end of it he's like, you know, I just want to be an entertainer. I just want to be able to entertain Spike. Ask him why you got pictures of Elvis everywhere. Like, what's wrong? What's up with you? And like listening to him talk about it, I understand way better now why Eddie kind of went to the wilderness in the early 90s.

[Sierra]

Well, it's also interesting to think about in terms of like why he's never really come back. You know what I mean? Never really did the Standup tour, the Standup comeback tour, never did Standup again. Which at this point, probably at various moments over the last couple of like 10 years or so, could he have played Sofi? Like, I, I don't know. Like Eddie Murphy could sell out any building in the world there not enough.

[Van Lathan]

Seats in, in the world for him to step on stage and people not to come.

[Sierra]

Right. And so he and like has kind of decided to sort of go into a light. I wouldn't call it retirement, but he's basically doing like easy layup movies for streamers.

[Van Lathan]

That started a long time ago.

[Bill Simmons]

Yeah, that's been the Nutty professional.

[Van Lathan]

I'd say 30 years of that and Dr. Doolittle.

[Sierra]

But he's probably been doing that for way longer than he was the man.

[Van Lathan]

Yeah. Cause the edge that he had, the way that Eddie made you laugh like very few people. Which is why it was interesting to see him chase the Oscar at times when he did the Dream Girls. Dream Girls or even coming back with Dolemite and trying to genny that up. There was just very few performers that could do what he could do that had that type of on screen charisma, could make you laugh like that, but then also could dial it back and control a scene. And it weighed on him. Like when you read this, he talks about the fact I didn't even remember that Coming to America wasn't critically well received. It's amongst the best comedies in the entire decade.

[Bill Simmons]

I didn't know how true that was. He probably read a couple reviews. It's funny because he was like probably in my top three all time favorites. And I never knew how angry he was in the late 80s. And now you look back and he goes in the Oscars and the 1989 Oscars and talks about how the representation was so bad with nominations, the whole thing. And everybody's like, what the fuck did he do that for? Yeah, what's up with him? What's up his ass? It was kind of the response to it. So he does that. He does this Rolling Stones thing. Same thing. And then this and all of it is about. Basically too much was on my plate. Too much was thrown at me. I thought this would feel better. I thought being this successful would actually be fun. It's not. And basically he's trapped in this little circle with like six people around him. He's not around people every day. He doesn't trust anyone. He said women try to sue him. He had the Art Buchwald claim that he stole coming to America from him. And he was just bitter at everybody. And I think that makes sense when you see the movies they ended up doing in the 90s where eventually he just retreats and does like Nutty professor and easy stuff where he can just play characters and kind of low ceiling stuff.

[Sierra]

When you close your eyes and you think of Eddie Murphy and you think of like the. The best moment of Eddie Murphy, what is the character or the movie that comes to mind?

[Van Lathan]

Prince Hakeem from Coming to America.

[Bill Simmons]

I think Eddie would say that. I think I probably enjoyed the Beverly Hills cop one Eddie the most because it was just felt like 22.

[Sierra]

Yeah.

[Bill Simmons]

And it just felt like you. This was, this was like gonna be the guy.

[Sierra]

Yeah.

[Bill Simmons]

Like for years and decades. And this, the guy could do anything.

[Sierra]

I probably agree with you. I. I probably feel like at 48 hours, it's like seeing like. Like seeing Caleb Williams throw, throw passes where you're just like, I can't believe this. Like, I can't believe this guy can pull this off.

[Bill Simmons]

Yeah.

[Sierra]

And it's kind of interesting to watch another 48 hours in that lens, through that lens and see like the brief flashes totally of when it comes back.

[Bill Simmons]

Like when he's calling the guys for the money.

[Sierra]

On the payphone.

[Bill Simmons]

Yeah, on the payphone. It's like this should have been in the movie. What are you guys doing?

[Van Lathan]

But even the one of my.

[Sierra]

He wants me to tell you he hates cops.

[Craig]

That.

[Van Lathan]

That right there, that's Eddie Murphy. Yeah. Yeah. He's fucking with this guy the whole time. And you think that he is going to end up getting Cates a ticket, but really the joke is on the cop and he tells him. And the cops too scared of Cates. So look, when you look at the early 90s, we've done boomerang, but if you look at Distinguished Gentlemen and some of those other movies and then the abomination that is Beverly Hills Cop 3, just like that movie is almost a.

[Sierra]

Is that the one at the theme park?

[Van Lathan]

Yeah, like that movie.

[Bill Simmons]

And by the way, in one of the interviews, he's talking about, I would never do Beverly Hills Cop 3. Like, he's like, they want him. Just throw money at me. I'm never gonna sell out like that. And then five years later, he sold out.

[Sierra]

Yeah.

[Van Lathan]

Boomerang is, to me, like a perfect film.

[Bill Simmons]

I love that. That was the first Eddie one we did together, right? Yeah.

[Van Lathan]

But, like, even in that one, you could tell he's trying to be the different. He's the straight man in that movie.

[Sierra]

He wants to be Carrie Grant.

[Van Lathan]

He wants to be Carrie Grant. He wants to be taken serious.

[Sierra]

I think that's like a thing that happens to a lot of people who get famous for doing a particular thing. And then it's like Eddie Murphy also wanted to be a musician, and Eddie Murphy wanted to be a viable action star, and Eddie Murphy wanted to be. You know what I mean? And it's like everybody was just anyone.

[Bill Simmons]

To be a singer.

[Van Lathan]

Yeah.

[Sierra]

He wanted to be a. A pinup, like, like old Hollywood star.

[Bill Simmons]

He wanted to be Elvis. Yeah. It's a tough one because I do think he was among the most talented people of the last 40 plus years. Like, he. He was the most overqualified SNL person they've ever had. And Will Ferrell's probably second. Everything went right for him for, I would say, seven years with his movie career. Right. And by the time Coming to America comes out, he's still like 28. He's not even really old like Jason Tatum yet. He's only six years older than Drake May.

[Van Lathan]

Right.

[Bill Simmons]

But he says in this spin thing, and this is after Tyson lost to Douglas in Japan, which is interesting parallel to Eddie, because Tyson had the same meteoric rise. And so he says, what happened with Mike Tyson, you get so big, people don't understand what happened. How can this motherfucker never lose? With Mike, when he lost and became human, in retrospect, I think doing something like the last two films I've done, maybe it's good that it makes you lose a step. The pressure's off you to be this perfect motherfucker. And then he talks about his career and he says, I was probably getting comfortable with my position, not appreciated in the position I was in. I went through a thing. I had seven pictures back to back, kit pictures. Nobody had done that. So he was acutely aware of, nobody's done what I'm doing right now. And he couldn't sustain it. But I think part of the Reason he can't sustain it is you. You just stop when you become that famous, you're just not a normal person anymore.

[Sierra]

Yeah. And also, I don't care if you're.

[Bill Simmons]

A musician, actor, athlete, whoever.

[Sierra]

I also wonder whether with his style of comedy and when you watch him on SNL and when you watch him in those early movies.

[Bill Simmons]

Yeah.

[Sierra]

You feel like you're like, there's no safety net. I'm floating in. I'm. We're floating with this guy. Like, anything can happen. And so once you kind of, like, grow past that point where you're connected to the things that made you who you were in the first place, I wonder if for. Specifically for standups, if it starts to become a little bit like, if you're not Seinfeld and making, like, quotidian observations about everyday life that everybody has. If you're Eddie Murphy and everything is energy and everything is channeling a certain sensibility, I wonder if you can sustain that.

[Van Lathan]

I don't think you can as a standup, but I definitely don't think you can as a standup who is also a gigantic movie star.

[Bill Simmons]

Yeah.

[Van Lathan]

Like, there are standups.

[Bill Simmons]

Nobody's ever done it.

[Van Lathan]

There are standups that get into their 50s when they are primarily known for that, and they're able to, like, pull the energy of their cultural observations, like, you know, split them over three or four different specials, over four or five years. Right. But, man, when you are watching Eddie Murphy in a movie like Beverly Hills Cop, he is the comedy in the film. I mean, don't get me wrong, there are other people that are funny, other funny things that happen, but every single scene is an incredibly heavy lift. Yep, it's a real heavy lift. Eddie's doing characters. Eddie's being suave, and he's being kind of like a rascal, like, all of that stuff. He's doing that in every film, and it comes to a head. And coming to America, he talks about it in that piece where there's legitimately a scene where he's playing four different characters.

[Bill Simmons]

Yeah.

[Van Lathan]

He's playing off of himself. That's how insulated he's.

[Bill Simmons]

And he was mad that one of the reviewers said he was lazy in the movie. He's like, I literally point everybody in a scene for five minutes.

[Van Lathan]

Right. And then he changes it. He wants to do less. And for four or five years, we don't even notice. Like, we notice that the movies aren't the same, but we don't notice that Eddie Murphy isn't Eddie Murphy.

[Sierra]

Interesting. I was Curious what you would say about a parallel career like Robin Williams. Now Robin Williams probably never as famous as Eddie Murphy was at the beginning of his career. Right. Like he does Morka Mindy.

[Bill Simmons]

I would say Mork and Mindy was a bigger show than Saturday Night Live at that point. I think the audience was bigger for.

[Sierra]

But were people like Robin Williams is.

[Bill Simmons]

Like they didn't know his comedy as much. And he went right to movies and was immediately trying to be a movie guy.

[Sierra]

And pretty quickly within the movies started doing serious roles.

[Van Lathan]

Right.

[Bill Simmons]

He moved to like world of cartoon. Garp was probably the first one. I think the thing with Eddie, he's doing three things at the same time. He's saving SNL by himself where he's also one of the only black stars. We talked about this in past pods. He's one of the only Black stars on TV in the early 80s. So he's got the whole burden of that. He's replacing Richard Pryor as the guy as a stand up. Right? And Pryor's self combusting and he blows himself up. What was he. Was he doing when he blew himself up? What was he smoking? Was. It wasn't crack.

[Sierra]

It was freebasing. He.

[Bill Simmons]

Was he freebasing? That's what it was. But he blows himself up.

[Sierra]

Stopped that to be like what I can remember.

[Van Lathan]

What is the thing that you guys smoke when you burn yourselves up?

[Bill Simmons]

Shut up.

[Sierra]

What the Rockefeller lost her.

[Bill Simmons]

What happened there? But he's also older, right? So Eddie takes that spot, but then he also takes the number one comedy movie actor spot. And he's. All these things happen in three years. Any person would be happy with one of those three things. Chris Rock only was able to do one of those three things. And we're like, Chris Rock, Jesus, what a career. The generational comic Chappelle. It's like Chappelle. Oh my God. Generational Eddie. That was one of the three things he did. And I think that's just a lot.

[Sierra]

Yeah. And it's also just like Eddie Murphy never had a Good Morning Vietnam where you translate your stand up or your comic skills perfectly into a dramatic role. But Good Morning Vietnam was nowhere near as big of a movie as the least popular Eddie Murphy movie of the 80s.

[Bill Simmons]

This movie made $150 million and it's revival considered to be disappointing.

[Van Lathan]

Yeah.

[Bill Simmons]

So he's speaking on Rotten Tomatoes.

[Van Lathan]

That's crazy. It's not that bad.

[Bill Simmons]

19.

[Sierra]

This movie's good.

[Van Lathan]

I like it. I like this movie. I like it. Hold on. He speaks to this in the piece, though.

[Bill Simmons]

Yeah.

[Van Lathan]

He talks about the fact. Because Robin Williams worked with arturs and different directors and stuff like that. Eddie talks about the fact that he didn't and really couldn't do that. He was like, he's talking to Spike Lee. And by the way, they promised to work together in this piece. They never do.

[Sierra]

Sure.

[Van Lathan]

It never happens.

[Bill Simmons]

It's so funny. They spend like. They're like, yeah, yeah. When we were in. Never. Not even, like a tiny role.

[Van Lathan]

And what he's essentially talking about is how the seriousness of Spike Lee and who Spike Lee was as a black director at that time, the responsibility that Spike has and the responsibility that Eddie has as being the guy that everybody likes. And it seemed like he was saying that he couldn't do stuff like what Robin Williams was doing. He couldn't take those chances. That wasn't what they wanted from him. He's like, they sent in workman directors in to do some of these movies, and I'll do those movies with them. But, like, as far as me working with, like, really important directors and that stuff like that, it's like, that's not what I'm doing. And that's kind of not what they want me to do. They want me to do Eddie Murphy pictures.

[Bill Simmons]

Yeah, you're right. There was, like, a burden. I almost wonder, like. Cause he does the oscars thing in 89. Right. And that's this renaissance for. You have Spike, you have Robert Townsend, the Wayans brothers are coming in. And there's this whole generational thing. Hip hop's coming in. There's this whole generational thing shifting. And you could almost feel like Eddie felt like he was over here in the mass market area of, like, belonging to everybody and was kind of. But I still should be over here, too. And that's why he's speaking out during these two years. And then it's over. And then he has the thing with the picking up the prostitute in 1995. Sure. After that, he stops doing interviews. I mean, he basically disappears after that. And you'll get some promotion for movies and that's it.

[Sierra]

You'll get every once in a while, a little story of, like, Eddie Murphy, Quentin Tarantino, something. Whether it was, I think, Tarantino was it like he was thinking about Eddie Murphy for Pulp Fiction or something like that. But then there's been a more recent story of all the good directors.

[Bill Simmons]

Seems fascinating.

[Sierra]

Quentin had, like, a Beverly Hills Cop pitch that Eddie Murphy was like, that's actually pretty good.

[Van Lathan]

You know, like, he becomes pta, I.

[Bill Simmons]

Think was in on him, too, trying to get him.

[Van Lathan]

He becomes that guy because, like, those directors obviously grew up on him. But also, it's like there was so much that he could do.

[Bill Simmons]

Yeah.

[Van Lathan]

And I bet that people looked at him and was like, yo, this guy is better than a haunted mansion. This is Eddie Murphy. He's better than haunted, man.

[Bill Simmons]

Didn't you feel that way with distinguished gentlemen? I remember leaving the theater and being like, God damn it.

[Sierra]

It's just like.

[Van Lathan]

It's a stupid movie. Yeah.

[Bill Simmons]

But like, God damn it, how did we get to this point?

[Van Lathan]

There are interesting films in there. Like, you know, Boomerang is interesting. Cause he goes all black cast for Boomerang.

[Bill Simmons]

That's the best thing he did that decade.

[Van Lathan]

Absolutely. But then, like, there's Bowfinger, which is an interesting movie.

[Sierra]

Really like Bowfinger.

[Van Lathan]

It's an interesting movie. It's a funny movie. That's Eddie trying to.

[Bill Simmons]

He tries to do Metro. Doesn't quite work.

[Van Lathan]

Doesn't quite work. Doesn't quite work. And then he never does the thing. He never. And not until Dreamgirls. He doesn't have the goodwill hunting moment. He doesn't have sort of the Jim Carrey.

[Bill Simmons]

Like, do you think he. What, like, could he have done Training Day?

[Van Lathan]

No.

[Bill Simmons]

Could he have done. He Got Game?

[Van Lathan]

No, I don't think you saw him shoot the basketball in this movie.

[Bill Simmons]

Well, right.

[Craig]

He could have done Truman Show.

[Van Lathan]

Could have done Truman Showman Show.

[Sierra]

I think. I think. And this is going to sound really stupid, but something like cast Away. Like, there's an element of, like, oh, wow.

[Van Lathan]

What are.

[Sierra]

What are the things that you. Would you watch Eddie Murphy on his own on an island for an hour and a half? I would, you know, now would he. Would it have the same gravitas? Would it. Like, what would happen in that film? I don't know. But, like, it is. It is a. It is a really sad.

[Bill Simmons]

That's a great idea thing to look.

[Sierra]

Back and be like, can we just do that?

[Van Lathan]

I'm thinking about most roles that Hanks played, you know, besides, could he then.

[Bill Simmons]

Sleep us in Seattle?

[Van Lathan]

Maybe. Maybe he could have done like.

[Sierra]

He could have done big, though.

[Van Lathan]

He could have done big. He could have also done, like Natalie or their own. But think about Philadelphia, where Hanks is in the Denzel Washington part.

[Bill Simmons]

Oh.

[Van Lathan]

And Eddie is in the Tom Hanks part. That would have been. That would have fucked people's head up.

[Bill Simmons]

What's your Eddie relationship, Craig? You're like two generations removed.

[Craig]

Unfortunately, I think the relationship with Eddie is that I knew he was famous first before I had a relationship with a specific movie. I mean, to be honest, he made like. Like Dr. Doolittle, and that's probably, like.

[Bill Simmons]

The first thing I saw. That's like, most people under 35.

[Craig]

It's pretty remarkable that for a guy as talented as him who was the biggest star in the world, his career does still feel like a missed opportunity a little bit.

[Sierra]

It's like.

[Craig]

It's like Aaron Rodgers only having one ring. You're like, that's. He was the most talented quarterback I've ever seen, and he only has one ring.

[Bill Simmons]

He should have won at least one.

[Sierra]

But, like, if I. There's. There's part of me that is still like, if Eddie Murphy started a podcast tomorrow, it would be, like, the biggest.

[Bill Simmons]

Podcast in the world.

[Sierra]

Do you know what I mean? Like, there's. There's, like.

[Van Lathan]

Would you see the documentary I did?

[Sierra]

Yeah.

[Bill Simmons]

It was interesting because it was all the good and bad of where it is now, where it was a very safe, controlled documentary that was afraid to really go anywhere. But I was completely ribbon.

[Sierra]

He's a good raconteur.

[Bill Simmons]

Yeah. And I loved it. And he told great stories, and I had a great time.

[Van Lathan]

And you still want to love him whenever you see him. You know, something else that happened, now that I think about it, is Hollywood really split Eddie into, like, thirds in the 90s. Like, they took the charm of Eddie, and then that was Will Smith. Like, almost anything that Will Smith was doing, you could have imagined Eddie doing. They took the straight up.

[Bill Simmons]

Like bad boys would have been Eddie 10 years old, bad Men in Black.

[Van Lathan]

Right. You know what I mean? He had to play a little bit younger than them, but still. And then they took, like, Rush Hour. Like, they wanted Eddie to be in Rush Hour. Like, that was supposed to be Eddie Murphy, but Chris Tucker was occupying that space for a little while. But in the 80s, there was one guy at the top who could do all of that stuff that those guys can do, like when you split them apart.

[Bill Simmons]

Well, yeah, he never was in, like, Independence Day or Armageddon, any of those type of movies, because he was kind of too famous to be one of seven guys. You get trapped. You like your own franchise.

[Sierra]

Some of those movies started to do a little bit of Moneyball where it's like, well, we'll get John Malkovich to be the bad guy in Con Air because his price point's probably not going to be as high as Eddie Murphy or something like that. You know what I mean?

[Bill Simmons]

Yeah. Well, in this movie, in 48 hours one he was paid $200,000. In this one, he was paid $12 million plus points. He actually came up with the story and used a pseudonym for it, talked Nolte into it. Nolte called Walter Hill, the director, who we'll talk about in a second, and he said, what do you think, Walt? And then Nick said, If we do one and it stinks, we're still batting.500.

[Van Lathan]

That's funny.

[Bill Simmons]

But he said it in the nicknotaboos. I do it and it stinks.

[Sierra]

Not a bad life lesson.

[Bill Simmons]

And Walter Hill said, a lot of folks will say I'm just doing it for the money. What I want to know is, what do I think? Why do I think they made the first one? So the most interesting thing about this movie is something we'll talk about right after the break. This episode is brought to you by Firehouse Subs who just dropped a game changing sandwich? The French Dip. Literally one of my favorite sandwiches slash subs. Roast beef, caramelized onions, melty cheese, little freshly toasted garlic butter roll and the warm savory au jus. I've been eating these forever since I've lived on the east coast in la. I think to me this versus the cheesesteak, the French dip, no contest. Way better. And I think it's really because of the au jus. I don't know anybody who doesn't like au jus. An elite game day sub. Fun to order by the way, if you want it delivered because they usually put the au jus in the special little container you can pour it on. Knock yourself out. The French Dip here for a limited time. I wish it was longer. Only at Firehouse Subs. Limited time at participating Firehouse Subs restaurants while supplies last. This message is a paid partnership with Apple Card. One of the most useful things in my life lately has been my Apple Card. Great for game nights, vacations, just life in general. And applying was so easy and quick. You can apply, see your credit limit offer and if approved you can start using your card in minutes. Do it while watching a basketball game. You could start making purchases with Apple Pay before halftime even rolls around. I also love how I can get up to 3% daily cash back on every purchase. That's more daily cash to use for game tickets. I feel like I scored big time when I started using Apple Card. Apply in the Wallet app on your iPhone. Start using it right away with Apple Pay. Subject to credit approval. Apple Card issued by Goldman Sachs Bank USA Salt Lake City branch terms and [e-mail]. all right, so we mentioned this is a complicated rewatchables because it's rewatchable, but it is among the movies that made me the maddest. And I didn't fully realize till we did the research cross that this should have been a two and a half hour long movie.

[Sierra]

Yeah.

[Bill Simmons]

That got cut to 120. And then a week before the release, Paramount panicked because Total Recall had done really well and was short. And they said, we gotta get this down to 95. And they just fucking brought the chainsaw out and chopped it. And this is the reason the plot is so nonsensical. And it's like, wait, how do they know? And that's why, because they just took out scenes that would have explained shit.

[Sierra]

Definitely chop this thing to shit. I am a little curious how none of that has ever gotten on any DVD or on YouTube or. There's never been like 25 minutes is like six scenes. Yes.

[Van Lathan]

I mean, the. The conceit of the movie 48 Hours that ended up on the cutting room floor as well.

[Sierra]

Yes. The idea that Jack has a deadline to find the Iceman totally cut out.

[Bill Simmons]

He. He. And it's in one of the trailers he tells Reggie, I only have 48 hours. We got to find the Iceman or I'm going to jail.

[Van Lathan]

And gone.

[Bill Simmons]

Just gone.

[Van Lathan]

Yeah.

[Bill Simmons]

Apparently Cruz, Keo's buddy in this has a whole arc that's gone. And the guy who played Keough explains the whole thing. And he said he lost every major scene he had. It felt like getting kicked in the stomach. I was the third lead. I looked like a dressed extra. There's no mention of 48 hours in the film anywhere. And this is just how it went.

[Sierra]

So when I read that quote from Brian James about playing Keough. Right.

[Bill Simmons]

Yeah.

[Sierra]

I thought to some extent they may have made that decision to maintain the twist of who Iceman is, and that's why they cut his stuff out.

[Bill Simmons]

I mean, it's not even a twist. Well, it's. It would be like right now, Van was like, I'm. I'm the Iceman.

[Sierra]

It's like what, I've been writing JD Vance's tweets.

[Van Lathan]

That would be. No, it worked on me when I was a kid, though.

[Sierra]

Oh, I didn't care at all when I was a kid. This is also. You guys got to understand, this is an era where I. We didn't really pay that much attention.

[Bill Simmons]

Yeah.

[Van Lathan]

No, it is like Tango and Cash get set up in two scenes. They put it all together. They Go to jail. Like, whole trial happens, they go to jail and like we're just rocking and rolling.

[Sierra]

Yeah.

[Van Lathan]

I mean, tell me the movie's about. Let's have a.

[Bill Simmons]

For me is I was a sophomore in college and 48 hours is my favorite movie.

[Van Lathan]

Right. So you were looking at it and.

[Bill Simmons]

They do another 48 hours and it's like, Q is the Iceman. It's like, no, you fucked now with. When I watched the first movie and he's helping Jack with Reggie. And why would he help him if he was the Iceman? Why would he help him in any way shape?

[Sierra]

Maybe one of the scenes that got cut is. Is the Iceman's late arriving. Like it's only after 48 hours that he becomes the Iceman, you know?

[Bill Simmons]

No, but that's not true because Reggie's like, remember that money? We took that off the Iceman, the guy who bought your car. So that makes you the dumbest motherfucker. Like, that's so Iceman had to be going in like 19.

[Sierra]

But is this Eddie Murphy's idea if he does the story?

[Bill Simmons]

Yeah, but maybe it made sense with.

[Van Lathan]

The extra 45 minutes, everything. I think that it's more of a movie movie, like in terms of the plot making sense and all of that stuff with the extra time in it. But it probably is lesser, honestly. Yeah, it probably this movie.

[Bill Simmons]

I don't know. This movie might be Heat, we'll never know. Michael Mann movie.

[Sierra]

Well, you joke, but we haven't like said why we like this movie yet. This movie is still a Walter Hill movie shot by Matthew Leonetti, just about the ghost of. That looks fucking awesome.

[Bill Simmons]

This movie is such a great.

[Craig]

And it's got.

[Sierra]

It's still a well done banger, James Horner score.

[Van Lathan]

I have it like oddly well directed. Real sense of tension and danger in these scenes. Great villains, great villains, totally fucking crazy guys that you are actually scared of that represent danger whenever they're around. And it moves so quickly. I don't know how it would if it would move that same way if we had more time with all of these characters.

[Bill Simmons]

Yeah, it's the opening scene. It's filmed like. It's like a fucking Oscar winner.

[Sierra]

I have that in a category coming up.

[Bill Simmons]

It's really good. Walter Hill, this was his last hurrah. After this he had Trespass, Geronimo, Wild Bill, Last man standing, C.R.

[Sierra]

And I trespass, Geronimo and Wild Bill all have things to recommend about them.

[Van Lathan]

I like those movies.

[Bill Simmons]

Well, I'm just saying none of them did well.

[Van Lathan]

Yeah, I really like. Yeah. Trespass. A treasure hunt in the hood. How have they not done that again? Trespass. I love that movie.

[Bill Simmons]

It bombed.

[Van Lathan]

It did not.

[Sierra]

In my high school.

[Bill Simmons]

It's funny, we were big on Judgment.

[Van Lathan]

Night in your high school.

[Sierra]

Yeah, but like, Trespass was like the idea of Trespass. We were like, this is the best idea.

[Van Lathan]

I love it ever. Loved Trespass.

[Bill Simmons]

I went and found the 1990 premier magazines to see if they did another 40 hours. And they only had a summer movie preview and they were doing predictions and they called Walter, Walter over the Hill.

[Van Lathan]

Oh, shit.

[Bill Simmons]

That's what he got in another 48 hours. Fuck that cr. And I met him, the Running man screening. He was sitting right behind us and we were probably like 20% too excited.

[Sierra]

We were like Chris Farley in SNL. Like, oh, and then when you did this.

[Bill Simmons]

Yeah, remember, Remember the Warriors?

[Sierra]

I was like, Mr. Hill, I'm a huge fan of extreme prejudice.

[Bill Simmons]

He. I think he was flattered.

[Sierra]

Yeah, sure. Yeah.

[Bill Simmons]

But yeah, so he did warriors in 48 hours. After that, it doesn't really matter, does it? You come up with those two.

[Sierra]

What? He also did Long Riders, Southern Comfort. I mean, he's done so many good movies.

[Van Lathan]

Wars, though, stands the test of time as much as any movie. Man.

[Bill Simmons]

We're bringing that back because when we did it the first time in the rewatchables, we didn't have a lot of the categories. The reward, Shay didn't really like it. That was one of the only times I forgot to make sure.

[Van Lathan]

How could that be possible?

[Bill Simmons]

Shay was like, fine with it. I thought he loved it for some reason. And then he was kind of like.

[Van Lathan]

Yeah, the most Shay Serrano coated movie maybe ever.

[Bill Simmons]

I was stunned. I just assumed that he loved it. And he was like lukewarm on it. So Ciara and I had to carry it.

[Van Lathan]

Shay had to carry Shay.

[Bill Simmons]

We had to carry it.

[Van Lathan]

A legitimate case.

[Bill Simmons]

We talked him into it. By the end of the pod, I.

[Sierra]

Think he liked it more. I think he enjoyed our enthusiasm for sure.

[Bill Simmons]

What a great movie.

[Van Lathan]

Just like amazing.

[Bill Simmons]

Talk about. What did I say it was? 89 minutes.

[Craig]

The rare sub 90.

[Bill Simmons]

I mean, it might be for batting average, slash advanced metrics, pound for pound per minute, the greatest action movie ever.

[Van Lathan]

It's a piece of culture.

[Bill Simmons]

They create an entire universe.

[Van Lathan]

Yeah. It becomes more. It's like a weird, drugged out, postmodern treatise on the crime written New York of the 1970s and gangs and all of that. It's like a beautifully up dystopian novel.

[Craig]

Almost it is remarkable. They did that in 90 minutes.

[Sierra]

Like, it's also like, we still in 2025, 2026, are like, oh, that's like the Warriors. That's so war. Like, that's so Warriors. Like, it's still a touch.

[Bill Simmons]

You know what's amazing about the Warriors? They never fucked with it. Nobody was like, we're remaking the Warriors. It was like there would have actually been riots in the street if they tried to remake that movie. It's like. It's almost like remaking the Godfather. Some of these movies nobody would ever touch. Yeah, the warriors is like that. And you would think that would have. They would have remade that four times already, but stayed away. Bunch of that guys in this movies we mentioned Brian James, Kevin Tagi.

[Van Lathan]

Yeah, yeah.

[Sierra]

Like from the Christmas Adventures Advanced River Film.

[Bill Simmons]

Owned. Owned. The Double Deuce needed some help.

[Sierra]

Yeah, that's right.

[Van Lathan]

He was a good.

[Bill Simmons]

He needed to find the best cooler in the South.

[Van Lathan]

He was the good guy in that one. But he's got such a smirky up face that when you see him in other. You're like, there's the guy that you're not.

[Bill Simmons]

It's funny because he was in Emergency, which was one of my first favorite TV shows in the 70s, and he was just like a Noah wy type of 70s, good guy.

[Sierra]

Should we address the fact that Neil Fisher emailed our. Our. Our email inbox to explain the last shot of Roadhouse to us?

[Craig]

Oh, yeah.

[Bill Simmons]

What was that?

[Van Lathan]

I don't remember that.

[Sierra]

Big fan of the pod. Been listening since the beginning. Loved the Mailbag episode. And when I heard you mention Roadhouse and you looking for an answer, a question to a question, my ears perked up. I'm a film filmmaker and author from Chicago. My first book was released in 2021 was about Swayze. While writing it, I was in contact with a bunch of Swayze collaborators like his Lisa Witt, his widow. Lisa and I became with Roadhouse alums, Marshall Teague.

[Van Lathan]

Yeah.

[Sierra]

And director Rowdy Harrington. I asked Rowdy if the skinny dipping scene was shot to be used in the middle of the movie. Since Cody is there. Or if it's something else, the blind guy. Rowdy says that always was meant to be the end of the movie. And he loves the final song. When the night comes falling from the sky. Hope that helps.

[Bill Simmons]

You know that. I got this Mailbag question about how the blind guy was just in the skinny dipping scene. And it was like, did they skinny dip in front of. Because they couldn't see.

[Van Lathan]

Yeah, you couldn't see anything, but it's.

[Bill Simmons]

Like a little Easter egg.

[Van Lathan]

Have we. Have we.

[Bill Simmons]

There's one more. That guy we got to talk about.

[Van Lathan]

Okay, go for it.

[Bill Simmons]

Andrew Diboff, who plays Gans's brother.

[Sierra]

Yeah.

[Bill Simmons]

Also the bad guy in Toy Soldiers movie we did a couple years ago on the Rewatchables. Me and Kyle Brandt. And that's what we did for him.

[Van Lathan]

Wait, no, no, no, no, no. He also was. Wasn't he in. Okay, so we're talking about the guy with the longer hair and the cherry. Yeah. Like a low down dirty shame. Oh, remember a low down dirty shirt?

[Bill Simmons]

Early 90s run for him.

[Van Lathan]

Low down dirty shame he plays. I remember he says he's trying to get under shame's skin about the beautiful top tier gorgeous Sally Whitfield.

[Sierra]

Oh yeah.

[Van Lathan]

Oh my God. Shout out to DeAndre, man. But like he's. He's talking about it and he looks at Shame. He goes, yes. You know she loved her to. That's what he said about it. He goes, because he's trying to get under his skin because that's his girl.

[Bill Simmons]

Yeah.

[Van Lathan]

And he's like, he's going out. Yes, she loved to. And I was like, God damn. Just tell somebody your ex, hey, I'm with your girl now. Just to let you know, she loved to a scene in Low down Dairy. Shane. He's in the movie.

[Bill Simmons]

Horbeck, scale the Century club for Craig. 100 minutes is. That's the curve. One way or the other, we're at 95 minutes here. Craig, we're plus five.

[Craig]

I know, plus five. Perfect length.

[Sierra]

We could have had like a 140 minute movie.

[Bill Simmons]

He was psyched for the other.

[Craig]

You could have given me five more minutes or something like that. But this is right in the sweet spot. Okay, necessarily.

[Bill Simmons]

$50 million budget made. 153.5 million. Roger Ebert, two stars.

[Sierra]

Yeah.

[Bill Simmons]

I can't fight back on this. He said, you know how sometimes in a dream you'll see these familiar scenes and faces floating in and out of focus and you're not sure they'll connect another 48 hours is a movie that feels the same way. Broad outlines, villains, cops, all basic movie stereotypes. What exactly is happening here if it does Nothing else? Another 48 hours reminds us that Murphy is a big genuine talent. Now it's time for him to make a good movie.

[Van Lathan]

God damn.

[Sierra]

He challenged him. I mean, I would say he does.

[Van Lathan]

Boring is a great movie.

[Sierra]

Yeah.

[Bill Simmons]

Watch Party. Out of all the possible scenarios. Five o' clocker for me.

[Van Lathan]

Five o' Clocker for me too.

[Sierra]

It's maybe a top five. Five o'. Clocker. It's exactly what you would want. You would go perfect back in the day maybe you get three trailers. So say 5 o' clock movie starts around 5:15, 5:20, you're home in time for dinner. Home for dinner.

[Bill Simmons]

Yeah, it's maybe a 4:55 start. Movie kicks in around 5:08, you get out. You're out of there early enough for.

[Sierra]

Young Bill Simmons to take you out and tell you all the problems with Iceman continuity.

[Bill Simmons]

You know, that would have happened. I would have been like, can we go get a Dunkin Donuts? I gotta explain how dumb this KYO.

[Van Lathan]

Thing is, why this didn't work for me.

[Bill Simmons]

Can we get an iced coffee? Most rewatchable scene. I, I, My first one isn't until 26 minutes into the movie. Unless you want to go with the opening.

[Van Lathan]

I like the opening. I like the opening. I just have so many questions about it. Like who goes to that bar? Like who, who frequents that bar in the middle of the desert? Nowhere is for bikers or something like that.

[Bill Simmons]

Where is it?

[Sierra]

Yeah, California. Is there a desert in where do you think?

[Bill Simmons]

Is there a desert in Northern California?

[Craig]

I mean probably, but not super close to San Francisco. I mean you could be up heading towards Napa I suppose with like those types of dunes.

[Sierra]

But if that was like they were fucking. Where's Lompoc? Or where's like some of the, I don't know, it's.

[Bill Simmons]

It's almost like a fever dream. That scene. That poor bartender.

[Van Lathan]

Poor bartender gets killed. Two cops. Well, you're into the movie. Five minutes, two cops gone. Old timer bartender out of here.

[Bill Simmons]

Old timer bartender. Probably bulletproof vest to work every day, I would say.

[Sierra]

I bet he that job, you know. Can he go two days without getting more than one customer? Sometimes like that. That's a pretty far flow bar.

[Bill Simmons]

Yeah, especially. I'm guessing it wasn't like $15 for a jack and Coke.

[Sierra]

No, it probably wasn't a couple bucks.

[Bill Simmons]

Jack gets attacked by the bikers and then Reggie's bus gets attacked simultaneously.

[Van Lathan]

That's a fantastic action scene.

[Bill Simmons]

It's really, this is 26 minutes in this movie. All of a sudden takes off, we get to hear Reggie sing James Brown. I wrote this down. This has happened a few times in movies, most famously in Fast Four. At the end, prison transport buses getting attacked.

[Sierra]

Yeah. Yes. I also like it whenever anyone carrying prisoners under attack, he's trying to communicate with the prison transport bus. Like in Rebel Ridge.

[Bill Simmons]

Oh, Rebel Ridge.

[Sierra]

A good one.

[Bill Simmons]

Yeah.

[Van Lathan]

Next to his cousin.

[Sierra]

He's like, stay up.

[Bill Simmons]

I'm trying to think when that hasn't worked. And then if you're the prisoner and you're being transported in real life, deep down, you're probably hoping.

[Van Lathan]

Wait, does this not happen in both U.S. marshals and the Fugitive as well? No, the plane crash.

[Bill Simmons]

U.S. marshals plane crash.

[Sierra]

Yeah, the Fugitive.

[Bill Simmons]

Fugitive is the. Is the. Just a straight bus crash?

[Van Lathan]

Yeah, Bus crash.

[Bill Simmons]

Yeah.

[Sierra]

Yeah.

[Van Lathan]

It's not attacked.

[Bill Simmons]

Fast forward is an intentional attack.

[Van Lathan]

Right.

[Bill Simmons]

To free Vin Diesel.

[Van Lathan]

I expand on this and say that anytime the prison transport mechanism is in peril, it's a good scene.

[Sierra]

Yeah.

[Bill Simmons]

Also, the same guy is driving the bus in every scene, no matter what movie it is. It's like the little bit of a fat guy, looks like he's from Chicago and he's got a mustache.

[Sierra]

It would've been cool if there was more of a budget. If Shot Caller had more of a budget for a prison transport, he could have gotten a transport going. Yeah.

[Bill Simmons]

Shot Caller.

[Van Lathan]

Shot Caller.

[Bill Simmons]

God damn.

[Van Lathan]

So, Shot Caller. So I had never seen Shot Caller, Right.

[Sierra]

Until we did. Rewatchable.

[Van Lathan]

Well, I can't remember.

[Bill Simmons]

I badgered you to see it.

[Van Lathan]

So, like, I'm looking at that and I'm just not gonna watch Jaime Lannister as a hard ass. I'm just not looking at it.

[Craig]

I'm not gonna watch.

[Van Lathan]

I'm not looking at that. And then I watched Shot Caller and. What the fuck, man? Shot Caller is way better than it had any business being.

[Bill Simmons]

Yeah. It's kind of what I wanted from Rip.

[Sierra]

The Rip. Yeah.

[Van Lathan]

For it to be a little. Well, Shock Hauler is way smarter than the Rip is. The Rip is a fucking dumb movie. It's good.

[Craig]

All right.

[Van Lathan]

That's a stupid movie, bro.

[Sierra]

Why?

[Van Lathan]

It's just like. Come on, bro. Like, even them. It's a 5 cent twist at the end of the movie. It's like, I enjoyed the rip. I really didn't. I enjoyed the rip, but I enjoyed the Rip.

[Sierra]

I did, right?

[Van Lathan]

It was worth the time.

[Bill Simmons]

My review to CR was that the Rip probably needed worse actors.

[Sierra]

It probably should. It probably should have had the Den of Thieves level. Actor.

[Bill Simmons]

Yeah.

[Sierra]

In that movie, then you would have.

[Van Lathan]

Felt like, hey, I got more than I bargained for. But if you're looking at the two motherfuckers from Good Will Hunting, you're expecting slightly more.

[Bill Simmons]

I'm expecting heat when I see those guys. And it was not Heat.

[Sierra]

Right.

[Bill Simmons]

It was more in the really. Well, Done Den at Thieves Camp, but.

[Van Lathan]

Shot Caller when I was watching it. That seemed like some made for cable type shit. Nah, the movie took itself very seriously. I didn't see what was coming at the end. It's like a legitimately good movie. I think he still was probably miscast. You probably could have got people to take that movie more seriously if you'd have cast somebody else in the lead.

[Bill Simmons]

But disagree.

[Sierra]

Sick.

[Bill Simmons]

Thought he was awesome.

[Van Lathan]

The movie.

[Bill Simmons]

I think you just took too much Jaime Lannister baggage into it.

[Van Lathan]

Probably so. I didn't say it was a bad movie. What I'm saying is to get more people into that film. If it had been somebody different.

[Bill Simmons]

I just think they botched the release. I didn't even see it for three years. I didn't even know it was out. Yeah, let's write a movie where a prison transport bus gets attacked. I don't know what happens the rest of the movie, but that's just how it starts.

[Van Lathan]

Oh, I can tell you something. How about this? This will get made. This will get made. Ringer films.

[Bill Simmons]

Ringer films.

[Van Lathan]

Prison transport bus gets attacked by fucking vampires.

[Bill Simmons]

Okay.

[Van Lathan]

This movie gets made. Vampires. They're fucking. They've woken up from their slumber. They're hungry.

[Sierra]

Dust before transport.

[Van Lathan]

Dust before transport.

[Bill Simmons]

There.

[Van Lathan]

These are hungry vamps. They're on the fucking. Craig's in on this prison bus. They smell it, but they don't realize that they fuck with the wrong bus, baby. These guys can handle themselves. Telling you.

[Bill Simmons]

Could we do.

[Van Lathan]

I wonder he didn't greenlight my shit.

[Bill Simmons]

Well, I'm still thinking about it. I need to be a prison transport. Or could it be like any bus?

[Sierra]

No, like a Greyhound.

[Bill Simmons]

No, like the Sixers are taking a bus from Philly to msg. The bus is under attack. Tyrese Maxey has to save the day.

[Sierra]

Yeah.

[Bill Simmons]

Against vampires.

[Sierra]

And be goes down at the first vampire 10 minutes into the movie.

[Van Lathan]

No. And B becomes a vampire to get to him.

[Bill Simmons]

Yeah. And all becomes the bad guy.

[Van Lathan]

And you know how we know that the vampires have gotten in beat?

[Bill Simmons]

Because all of a sudden, he's playing.

[Van Lathan]

He's playing and he's not getting hurt.

[Sierra]

Yeah, he's moving.

[Van Lathan]

He's moving around.

[Sierra]

But then it's a vampire woman walking around in Skechers. Yeah, I noticed you haven't really commented on his revival.

[Bill Simmons]

Is it a revival?

[Sierra]

I think he's playing quite well. Okay.

[Van Lathan]

He is. Once Bill gets a take, he doesn't ever go back on.

[Bill Simmons]

Look, how long has he been playing? Well, like three weeks.

[Sierra]

Yeah. The time The Celtics have been good. Great.

[Bill Simmons]

Next scene. Reggie and Jack hit the hospital. Into Reggie's car blowing up, which includes Eddie just ripping off lines like, oh, great. I get to spend my first day out with Art the goddamn redneck. Hilarious. I'm broke. I've been shot at. I was in a bus that flipped 17 times.

[Van Lathan]

That's the trailer that was. That's the trailer.

[Bill Simmons]

They blew up my car.

[Van Lathan]

Yeah, they blew up my car. They blew up my car.

[Sierra]

Is this what he goes, that's it. I'm calling some of my fucking homies. I'm getting a loan.

[Bill Simmons]

I'm getting. All of a sudden, this is the best movie you've ever seen. And then when he's calling the different people for the money and they was like, no, no, I was there when you beat the bitch up.

[Van Lathan]

He's like, yeah. He's like, you become a Christian. That was just funny. I was there when you beat the bit. But all of this stuff, like, talk about how bad the movie is. Maybe it's nostalgia. The bar, the bus, the. All of this stuff is moving real quick and it's hard not to be entertained.

[Bill Simmons]

Yeah.

[Sierra]

He told me that cops ain't shit and you were just pussies that I could pass. And he all said he's going to park his car and he don't care if it's a no parking zone.

[Bill Simmons]

Reggie explains the Iceman and Jack the Iceman bought your house, which makes you probably the dumbest motherfucker law enforcement. I also like the line, he makes Gaines look like Gandhi.

[Craig]

Yeah.

[Bill Simmons]

And then he does the same seven years of prison. You remember every story about pussy you ever heard, but we're cooking. It's starting to feel like 48 hours again. I also like Reggie. Spots a pickpocket I love. Anytime somebody says she's dancing at a birdcage up in North Beach, I know I'm in the right movie. That sounds great. I thought the band was just terrible. We get a bar fight and we get him shooting somebody and asking if anyone else wants a limp. You like that scene?

[Van Lathan]

Love it. I mean, all of this stuff is from the trailer like that? Yeah, because the trailer itself, I remember as a kid, was everywhere. A lot of promotion for this movie. This was like a big one. Right? Trailer goes through all this. It shows everything that's happened to him. And then it shows him shooting the gun like this. Almost the same way he did in all 40 nights.

[Sierra]

Yeah.

[Van Lathan]

Yeah. Like shooting the gun like that.

[Bill Simmons]

Like, hilarious Chinatown hotel shootout.

[Van Lathan]

Hey.

[Bill Simmons]

At the King Mai Some good stunts in this.

[Van Lathan]

Some great stunts in that. That is an. That's an intense, desperate shootout. The hotel shootout is from a different movie. That's not normally the type of shit that you get.

[Sierra]

It's the same. All the stuff with Cherry and Hickox is from.

[Bill Simmons]

It's from the first one.

[Van Lathan]

It's from the different. Other versions of the first one. Yeah, because he. Think about him. I killed you, Pete. That guy ain't trying to be funny. That's like a serious fucking. He's pissed the fuck off.

[Bill Simmons]

Have you ever wanted to jump into a garbage dumpster? Into the garbage bags like they do in these movies? I feel like in real life you would do it. You just get stabbed by a broken wine bottle and die. It's like, no way you survive it. They make it seem so easy. It's this cushy fall.

[Van Lathan]

But. But the thing that I know, jumping.

[Bill Simmons]

Into a Samsung tv, shattering.

[Van Lathan]

I don't think about getting stag. I think about falling on somebody's old steak or some old gumbo they threw out or being in the military, pampering.

[Bill Simmons]

So many bad things are in a crisis. You're never in a movie.

[Sierra]

Hollywood's in crisis because, you know, there was like a day to a week of meetings about what should Cherry fall onto when we finally kill him? Or. No, is it Cherry, or is it the Iceman who falls into the water bottles?

[Bill Simmons]

No, that's Cherry.

[Sierra]

Cherry. And it's like, he's gonna go out the window. What should hit him? What should he fall on? And they probably were like, what would look amazing that would have cost $10 million now to throw a guy out of a window? That's a real dude. He's like, fully a stuntman.

[Van Lathan]

Yeah. This movie's crazy with the stunts. We didn't even talk about the guy that. For a nothing scene. Like, a nothing scene just gets torched, set on fire.

[Sierra]

Oh, I'm getting to that.

[Van Lathan]

Okay. A nothing scene. It's a whole set of human being set, torch set on fire for no reason.

[Bill Simmons]

What about the stunt going through the movie screen and the motorcycles landing perfectly. Yeah, Right between the aisles.

[Van Lathan]

Right.

[Bill Simmons]

But that's not cgi. I don't know how they did that. Like, if you're Magic man, tiny bit over to the left, that's. You're just hitting a chair.

[Van Lathan]

Are you aware that in 1969, the United States was able to successfully put men on a spacecraft and then get them to the moon?

[Bill Simmons]

I don't like your sarcasm.

[Sierra]

He also might be a little Bit dubious about whether that happened. He might.

[Van Lathan]

Do you think that it happened?

[Sierra]

Stanley Kubrick did that in the backlot of Paramount.

[Van Lathan]

The point is that if they were able.

[Bill Simmons]

I stand with Danny Torrance Spaceship sweatshirt. The. I really like Bernie Casey in this movie. But I like when they go to visit him and he goes, you repay your debt to me. And punches the glass.

[Van Lathan]

When I was a kid, that used to scare me.

[Bill Simmons]

He's in a different.

[Sierra]

You must repay my debt to me. Bernie Casey is the stuff that got cut out or just an explanation of that.

[Bill Simmons]

Is he the Judd Nelson? You're in a different movie, but I'm really enjoying it. Yeah, he's in. Bernie Casey's in Shot Collar. He's not in another 40 hours.

[Van Lathan]

He's over here. He hates Reggie. Reggie's so scared of him. And then when he punches his hole through the. Punches a hole through the fucking glass. That scared the shit out of me when I was a kid.

[Bill Simmons]

By the way. Bernie K. C like, pretty atypical role for him. Like this was. He's running Lambda Lambda Lambda and Revenge of the Nerds and well in the 70s and stuff. He was usually the good guy. He wasn't like the.

[Van Lathan]

The bad guy around this time or a little bit after this. I'm gonna get you. Sucker comes out.

[Bill Simmons]

Yeah.

[Sierra]

Did Pretty Casey ever play Felix Leiter in. In any Bond movies?

[Van Lathan]

I don't think. Did he?

[Bill Simmons]

I always thought Bernie Casey was really good.

[Van Lathan]

He's the man.

[Bill Simmons]

Anything he was in. But I really like this movie.

[Van Lathan]

Like A plus performer. Whatever he was in.

[Bill Simmons]

And then we have the Club north beach final shootouts. The last one ridiculous Iceman reveal. We get to see a hostage taken in a stripper cage elevator. Sign me up. You set me up, Ben. You're getting too close, Jack. I like when people are trying to kill each other, but they're having, like a conversation. You set me up. Cr.

[Sierra]

Iceman's got.

[Bill Simmons]

Sorry, man.

[Sierra]

You were losing control of the ringer.

[Bill Simmons]

That's like psychic.

[Craig]

That's the Mr. And Mrs. Smith you're arguing while shooting each other.

[Sierra]

Yeah.

[Van Lathan]

Yeah.

[Bill Simmons]

Gans's brother Foster. His death on a water bottle track. And then Jack the Twist, he shoots Reggie to get to Kia.

[Sierra]

So he shoots Reggie with, I think a.44 Magnum.

[Van Lathan]

Reggie. Shit is fucked up.

[Sierra]

And Reggie's.

[Bill Simmons]

Yeah, Reggie's not. He's losing his arm.

[Sierra]

Losing a ton of blood instantaneously.

[Craig]

I don't know why they didn't. I thought they were setting him up to have him in a vest. They mention it halfway through the movie.

[Sierra]

Jack has a vest at the diner.

[Craig]

Six times with the vest. I thought, oh, this was a plan they concocted where if he needs to be shot, he can be shot because he has a vest on and he's not in one.

[Van Lathan]

Yeah, I don't want to go all like, you know, lioness ballistics. We can. We should just have a whole pod called ballistics where we talk about the guns in these. In these fucking movies. You get shot from that range with that gun, your shit is fucked up. Yeah, like that's.

[Bill Simmons]

You need to be in the hospital table in an hour.

[Van Lathan]

Yeah, the 80s were a big gun. Fucking. I mean, the Gans is carrying a Desert Eagle in this, right?

[Bill Simmons]

Yeah.

[Van Lathan]

So they were a big caliber gun decade before the 80s.

[Bill Simmons]

Jesus. I didn't realize American Sniper was here.

[Sierra]

I know. Seriously.

[Van Lathan]

What?

[Sierra]

It would have it funny though, if he shot him in where he shot him and he goes. There goes college softball. Oh, man.

[Bill Simmons]

What do you got from us? Rewatchable Sierra?

[Sierra]

Well, I'll just do a shout out to the motocross scene because it is such an unnecessary use of burning a stuntman nearly to death. And I also love Brent Jennings in this movie as. As bros. But it really. There's no real reason to have that scene in the movie. But it is awesome that they're just like, what I need is a motocross track, 25 experienced motocross bike riders. Then we're going to have a stuntman get lit on fire with a shootout. And all the motorcycles need to miss Nick Nolte by an inch a little bit. Yeah. But my favorite scene is probably the. Let Eddie Murphy cook.

[Bill Simmons]

The minutes of Eddie Murphy just cooking. I agree.

[Van Lathan]

The payphone scene is my favorite scene. Like, it's the one that I most get excited to watch. I will say, to your point about Brent Jennings in this, an underrated scene is when the two guys confront him in the room and they shoot his ear.

[Bill Simmons]

Like, oh, Malcolm. Or not Malcolm.

[Sierra]

No, Tyrone.

[Bill Simmons]

Yeah.

[Van Lathan]

Brent Jennings in the movie, right? Yeah, yeah. When they shoot his ear like that.

[Bill Simmons]

Scene once again and he starts laughing. I think he kind of got shot and laughed.

[Van Lathan]

It's like from a horror movie.

[Sierra]

It's also the way it's shot is really.

[Bill Simmons]

Yeah. They do weird, scary camera stuff.

[Van Lathan]

You start to see how insane he really is because he gets shot in the ear then still delivers to them the message that he needs to so they can finish their job. Then they finish him.

[Bill Simmons]

It's like when Trump got shot in the air.

[Van Lathan]

Okay. Now I know you're on Netflix now, but. Yeah, that didn't make sense. I don't know what the correlation is. If it'll be Paramount maybe, but what's.

[Bill Simmons]

The most 1990 thing about this movie.

[Sierra]

Cr I think unironically ordering brewski's and then having those beers be Miller Genuine Draft bottles.

[Craig]

You know, I recently tried Miller Genuine Draft for the first time. That's not a great beer.

[Sierra]

Yeah. And then also just the Iceman using an Uzi.

[Van Lathan]

What do you drink? What kind of beer do you drink?

[Bill Simmons]

Oh, he drinks Michelob Ultra.

[Van Lathan]

Yeah.

[Craig]

Light beer. I love Miller Light Coors Light.

[Van Lathan]

Okay. Oh, a real American.

[Craig]

Sure.

[Van Lathan]

There you go.

[Craig]

You guys, MGD is not really around anymore.

[Sierra]

It's. It's just not. It's certainly not around in L. A. I do not see MGD in la.

[Craig]

Tastes more like malt liquor, you know.

[Van Lathan]

These are the beers of my home when I came out here. All the whites, I knew they. It was Pabst Blue Ribbon. It was like, give me a Modelo. Give me a. I like Modelo San Angeles IPA or whatever. Like where I'm from, the ones that I grew up with, Give me a Miller Lite. Give me a Coors. These are the Americans I know. I'll hear things change. I don't even know who are the Millerite people at the ringer. Who are they?

[Sierra]

Chang loves a Miller Lite.

[Van Lathan]

Oh, that makes sense. That tracks.

[Bill Simmons]

I drink Michelob Ultra.

[Sierra]

I got it. We got it. Yeah, it's refreshing.

[Bill Simmons]

It's only 90 calories. My most 1990 thing about this movie is just the stage of Eddie's career. He's kind of fat in this movie for him.

[Van Lathan]

Yeah, a little bit.

[Bill Simmons]

He talks about like, he won't. He hates watching this movie because he thinks he's fat in it.

[Sierra]

He's not here.

[Bill Simmons]

Starting to go a little bit. He just looks older and like, he.

[Sierra]

Looks pretty good though. Like outside he's wearing that big suit. Yeah.

[Craig]

Where it's like he looks handsome and in shape.

[Sierra]

Yes.

[Van Lathan]

You know.

[Bill Simmons]

No, but if you watch the first movie, that suit is like tight on him, man.

[Van Lathan]

My mama, when we watch this movie, she loved him. She would not stop talking about how much weight Eddie Murphy had gained. That's one of the things I remember.

[Bill Simmons]

You really feel it in the suit. It's almost like a David Byrne suit on him compared to the.

[Van Lathan]

When I watched again, though, like, the suit is big. The suit is bad for him.

[Sierra]

Yeah.

[Bill Simmons]

Would say it's the best.

[Van Lathan]

Oh, hold on, I got to do my most 90s convertibles and movies. I can think of so many movies with people driving around in convertibles. Twins, canine people driving around in convertibles, having conversations in the open air in movies. I looked it up. Less convertibles in movies because less convertibles, period. I know the convertible was phased out in the 90s.

[Sierra]

I also wonder whether or not convertible is a better shot. You know, like you. You get like more of whatever. Even if it's a. If it's a screen background cinematically.

[Bill Simmons]

You know what the problem is? Fucking skin cancer that's killed convertibles.

[Sierra]

Didn't you have a convertible for a while?

[Bill Simmons]

Yeah, I had one for 25 years. I always had a convertible.

[Van Lathan]

I had to give it up.

[Bill Simmons]

Guess what? I got a big melanoma on my forehead. And that was it. I never had a convertible again after that. No, I think people just would bake in the sun in a convertible and not think twice about it. And now I think people are a little more sun careful. You don't really see Craig's generation too.

[Craig]

Careful about the sun.

[Bill Simmons]

Just more careful about the sun.

[Craig]

It is a thing. You know, people put on sunscreen every morning. I don't do that, but that's a thing.

[Sierra]

It's recommended for out here.

[Van Lathan]

Yes.

[Craig]

Like a part of your daily morning routine is you apply sun.

[Bill Simmons]

Back in the 90s. Just put that top down. Bacon bright red.

[Van Lathan]

MGD.

[Bill Simmons]

Better times. Go to a strip joint with a stripper cage. Yeah, watch the strip. Stripper cage. Elevator going up and down through the days.

[Sierra]

That's what they were watching.

[Bill Simmons]

What stage the best. What do you got? Cr.

[Sierra]

Ball busting. Cop talk. Now, Jack, a cop is a guy and sometimes a guy steps on his dick.

[Van Lathan]

That bruh, this guy was obsessed with stepping on dick.

[Bill Simmons]

Yeah.

[Van Lathan]

He told you stepped on your dick? He said it three times.

[Sierra]

In one sense, yeah. I just love all the. All the ball busting that happens in the precinct.

[Bill Simmons]

And we don't do it the same way anymore with precincts. We just lost the narrative. Yeah, these chaotic precincts with a lot of sarcasm and a lot of insulting. Like this doesn't exist anymore.

[Van Lathan]

Busting each other's balls.

[Bill Simmons]

Yeah, we don't have ball busting.

[Sierra]

You think work from home killed precincts?

[Bill Simmons]

I do. I think Covid.

[Van Lathan]

You know what we need at the ringer?

[Bill Simmons]

I think Karen Bass.

[Craig]

Cops on zoom calls.

[Bill Simmons]

Karen Basket.

[Van Lathan]

You know what we need at the ringer? We need a police captain at the ringer.

[Bill Simmons]

Just somebody who.

[Van Lathan]

Somebody walks in here. Lathan, get your motherfucking ass in My office. Yeah, we need to like.

[Bill Simmons]

Well, our guy got cut out of this movie. Frank McCray.

[Sierra]

Yeah.

[Bill Simmons]

Who was the yell at the sergeant yelling at them in the first movie just out.

[Van Lathan]

Right.

[Bill Simmons]

I always need that guy in a. If I'm gonna be in the.

[Sierra]

Apparently agrees with you because he's just Inspector Todd. But in San Francisco.

[Van Lathan]

Yeah.

[Bill Simmons]

What do you have for what stage is best?

[Van Lathan]

The animus between rural and metropolitan Americans. I hear a lot of talk in this. Hillbillies, rednecks, all of this stuff.

[Sierra]

Yeah.

[Van Lathan]

We had it then and we have it now. We can't get on the same page. It's tough. I have oh also in Internal Affairs. Internal affairs in the 80s. Scumbags.

[Bill Simmons]

Yeah.

[Van Lathan]

Hated them.

[Sierra]

Yeah. They fucking hated I.A.

[Van Lathan]

Hated I.A. every single movie I a. Scumbags. But now two. I love.

[Bill Simmons]

I love evil Internal affairs guys or seemingly evil. But they're really doing their job. And honestly, like villainous biker gangs. Tell me when that doesn't work in a movie.

[Van Lathan]

It's good.

[Bill Simmons]

These guys are just bad guys. They got bikes. That's all they need.

[Van Lathan]

They villainous bad biker gangs kind of culturally expired. But then I feel like Sons of Anarchy and Task.

[Sierra]

Yeah. But in a very different way though, right?

[Bill Simmons]

I also had a fun action movie sequel. Gimmick. Is the dead guy's brother coming to exact revenge?

[Sierra]

It's fine by Sign me up.

[Bill Simmons]

Fine by bus can flip. And with prisoners, even better. And then any movie that has an exchange like this. We're looking for a whore that works here. Angel don't work here anymore. She's dancing up at North Beach. I'm probably in the right theater.

[Sierra]

I meant to come see the new Colleen Hoover, but it turns out I'm right where I need to.

[Van Lathan]

Me. This is.

[Bill Simmons]

You guys understand me?

[Van Lathan]

This isn't Hamnet. I thought I was Chloe Zhao.

[Bill Simmons]

Dennity's Benihana award for scene stealing location. And the Kid Cudi Pursuit of Happiness award for best needle drop. I'm giving to the Bird Cage, which was that strip club at the end, which I thought was a really good bar scene. You could also talk me into the first.

[Van Lathan]

The Sandations bar.

[Bill Simmons]

Sand Dunes bar.

[Sierra]

Whatever sneaky candidate. Here is the King Mai Hotel for me.

[Van Lathan]

Oh, yeah. Oh.

[Sierra]

Single room occupancy. You know, single resident occupancy.

[Bill Simmons]

Hour. Hour per rental. Great shot. Go Order award. Most cinematic shot. What do you got here?

[Sierra]

There's a bunch. Walter Hill is a G. I had. There's a great shot of them coming up the hill in Jack's Caddy when they're pulling up to Reggie's car for the first time before it explodes.

[Bill Simmons]

Nice.

[Sierra]

And there's, like. For some reason, there's, like, spotlights going at the bottom of the hill in San Francisco. San Francisco is just such a beautiful cinematic city anyway, as we will discuss in Zodiac. But that was just a great shot.

[Van Lathan]

There's a neat little shot when I think it's Reggie's getting out of jail to where they stop to talk, and he shoots it from, like, behind.

[Bill Simmons]

Yeah, you're right.

[Van Lathan]

A low angle where it makes them look like they're having a conversation in prison. Good shot.

[Bill Simmons]

I had that one. I also really like the slow mo. Reggie getting shot and Keough kind of realizing what's happening in slow motion as he sees Reggie sinking down and then turning back to Jack. It's just like, good slow mo.

[Sierra]

Yeah.

[Bill Simmons]

Very rarely do we have good slow mo. Here's a new award, the Dorfler's Door Award for How much did that hurt? Named after Marvin Dorfler in Midnight Run when they slammed the door. Getting a basketball whipped in your face like that from close range, which hurts. He does to him in the nose.

[Van Lathan]

Yeah, you're so.

[Bill Simmons]

It might have him in the chin. I. I just feel like there's blood.

[Sierra]

Yes.

[Bill Simmons]

I think that would really hurt.

[Sierra]

Nolte gets off pretty easy in this movie compared to what happened in the first one.

[Van Lathan]

Oh, like when it was the first one.

[Sierra]

He's bleeding out of every orifice. Like, by the end of that movie and this one, he's just kind of.

[Bill Simmons]

Like, yeah, we'll take a break, and then Sierra's got a flex. This episode is brought to you by Tax act like an expert coach. TaxAct offers step by step guidance and guaranteed accuracy when filing taxes. Get tips along the way. Add expert assist to talk to tax experts and let our experts do your taxes for you. With Expert full service, TaxAct helps you find the deductions and credits you deserve so you can get them over with. Visit taxact.com to learn more. Conditions apply. See taxact.com for details. This is pro linebacker TJ Watt, and I'm back with YPB by Abercrombie for another activewear drop. My second co design collection has new shorts and tanks that keep up with.

[Van Lathan]

All my in season workouts.

[Bill Simmons]

And their new restore collection is a game changer off the field too, because.

[Van Lathan]

Even pro athletes like me need rest days.

[Bill Simmons]

Shop YPB by Abercrombie in the app.

[Van Lathan]

Online and in stores, because your personal best is greater. Than anything.

[Bill Simmons]

All right, CR Flex category, what do you got?

[Sierra]

I'm going to do a double here, but it's the same scene. It's the same, so I hope it's okay with you. The Sean Fennesee Award for stealth homage. That gives every movie nerd a criteria orgasm. For essentially redoing the opening of Once Upon a Time in the west with the bikers arriving at the bar in the beginning. Spaghetti Western opening. And then the Rich Rickett Award. Meet Award.

[Craig]

Read the whole thing, please.

[Sierra]

The Rickety Guard. Meet Award for most memorable death by a security guard or other bystander whom the movie treats as inconsequential but who probably had a spouse and kids who love him or her. For the female cop that gets Desert Eagled in the car and gets blown through a window and it's just like. All right, that's the first scene.

[Bill Simmons]

That's a great new word. I love that one.

[Van Lathan]

Two cops down. What about the poor bastard who is just coming out of his hotel room?

[Craig]

Yeah, yeah.

[Van Lathan]

And takes four to the chest. He's just like he was just getting.

[Sierra]

Out of the job.

[Van Lathan]

Yeah. What kind of. Yeah, he's in there. One of the ladies. What kind of racket's to going on out here? And then boom, boom, boom, boom. He's dead.

[Bill Simmons]

Those are great ones.

[Sierra]

That was a mouthful. Sorry about that. Yeah. Is it chicketti or K? Okay, Rick, let us know.

[Bill Simmons]

I'm going to add here the Hans Gruber scale villain ranking. Cherry Gans. What do you think? Five and a half, six?

[Van Lathan]

I like him.

[Bill Simmons]

Do we need more comedy from him? What was he missing? Little one note.

[Sierra]

I don't mean it to dominate the floor here, but this, this is my hottest take.

[Bill Simmons]

Oh, do it now.

[Sierra]

We got to get back to guys like Cherry Gans. It was a deeply satisfying experience to watch it. Just a truly psychopathic bad guy. Now I don't have to worry about his childhood or what he really wants in life or who hurt him. He's like, you killed my brother. I'm killing mad cops until I get to you. That was an awesome bad guy.

[Bill Simmons]

So you go higher, it sounds like you got like eight.

[Craig]

Yeah.

[Sierra]

I love Cherry.

[Van Lathan]

So angry I thought I killed you. Like, so angry he wanted him dead.

[Bill Simmons]

I killed your babe.

[Van Lathan]

I killed you big. Oh, my God. Damn, it's like an opera.

[Bill Simmons]

We're really talking ourselves into this movie.

[Sierra]

Yeah.

[Bill Simmons]

Was there a better title for this movie? Do we like another 48 hours as a title?

[Sierra]

Another 48 hours. Colon. Cherry's Revenge.

[Van Lathan]

Oh, I love A colon.

[Bill Simmons]

How about 48 hours too?

[Van Lathan]

Well, I mean, another makes more sense than that.

[Bill Simmons]

How about 48 more hours?

[Sierra]

Well, if they knew that they were going to take the 48 hours part out of the movie, I would have just called it, you know, Jack and Reggie.

[Bill Simmons]

48 hours to Reggie gets out.

[Van Lathan]

Yeah, that works.

[Bill Simmons]

Butch's girlfriend award, weak link of the film. The plot's incoherent, and we covered all the reasons why story. Jack can't find the Iceman for years, but never suspects other cops.

[Van Lathan]

Jack is such a idiot guy you got in jail.

[Bill Simmons]

You got this the entire time. Nobody asks him.

[Van Lathan]

Guys, Jack is dumb. Yeah, okay, Jack is dumb.

[Bill Simmons]

Every time I get close, the Iceman.

[Van Lathan]

And Reggie realizes it's too. Reggie's like, hey, Jack, the Iceman's a cop. I couldn't be a cop. Reggie like, idiot. Are you deadass? Like, it's definitely a cop. You're stupid as Fuck.

[Bill Simmons]

Reggie's like 29 and he's been in jail for 10 years. And he figures it out.

[Van Lathan]

He figures it out in, like a day. It takes him a day to figure it out.

[Bill Simmons]

Also, why wouldn't they just kill Jack? It's like Jack's getting close. Hey, how about this? Let's just shoot him in the head tomorrow.

[Van Lathan]

Kill everybody else.

[Bill Simmons]

Kill him. What do you have for week? Link?

[Sierra]

I had the Bernie Casey Tisha Campbell part. Just felt like it was stapled on at the end. What about her?

[Van Lathan]

Tisha Campbell is one of. I have this argument about Tisha Campbell.

[Bill Simmons]

Oh, boy.

[Van Lathan]

I think Tisha Campbell is one of the most important performers in black cultural history.

[Sierra]

She had a lovely episode of the Lowdown recently.

[Van Lathan]

See, Tisha Campbell has been so consistent over the decades. Okay, you can pop on Lil Shop of Horrors. Oh, look at that. Tisha Campbell Martin. Throughout the 90s, boomerang, house turned house party. Boomerang. If you think about these fundamental parts of black cultural film stuff, she's there. Pops up again. My wife and kids below now, like, Tisha Campbell has had a fantastic, amazing career. We don't appreciate her enough.

[Sierra]

I just meant randomly endangering this woman at the end of it for no reason.

[Van Lathan]

She was taking hostage. Yeah, I get that.

[Sierra]

And also, like, doesn't Cherry kind of puts that one together pretty fast, you know?

[Bill Simmons]

What, did you have a weak link or.

[Van Lathan]

No, the story's the weak link. You know what I hate, though? There's one thing that I hate in the movie. So. Cause I know people, and I know people that work at places like Angel. Yeah. Like I work. I know people that work at places.

[Bill Simmons]

You know, Angel, North Beach.

[Van Lathan]

I've known a lot of Angel. A lot of different North Beaches.

[Bill Simmons]

It's up there in north beach, dancing.

[Van Lathan]

Listen, he comes up to her. He goes, Here's $75,000. She goes, if it comes from him, it's probably got blood on it. I don't want it. That's not happening.

[Bill Simmons]

Taking it.

[Van Lathan]

That's not happening, man. Okay, $75,000. Hey, man, how's my dad doing? I appreciate it. Give me the motherfucking money. Get out the goddamn store. Like, every time I see something like that. That's not. I know. The grandmamas, the aunties, the baby mamas, all of that. The 75,000 is being tamed.

[Sierra]

Yeah.

[Bill Simmons]

What stage? The worst. I have a special what the Hell Were They Thinking? Piece for this where Jack goes to see Reggie in jail, who's playing basketball, and the scene's not good. How is that not a great scene? That should have been the best scene in the movie. They haven't seen each other in five years.

[Sierra]

What's aged the worst is the gap between the two movies. This. This movie needed to come out in 87 or 8 or something. Or 85.

[Bill Simmons]

Yeah. I think that's fair. Why have them sing Roxanne again? They just do. There's a couple things they do in this movie. It's like, dude.

[Van Lathan]

Yeah.

[Bill Simmons]

It's almost. Why didn't somebody on the set stop this award?

[Sierra]

Why isn't he singing when ducks don't do Roxanne Again?

[Bill Simmons]

He already did that.

[Van Lathan]

Do you think this is a movie that they made and they were trying to make a movie where you didn't have to see the first one? Eddie's such a big star now that he's got, like, such an experience.

[Sierra]

But it wasn't like it was like.

[Bill Simmons]

I'm asking, like, I do 48 hours everywhere.

[Sierra]

It's not like 48 hours was Rushmore.

[Van Lathan]

I know what I mean. But you see this movie at this particular time, I think it was lazy.

[Bill Simmons]

I just think they were being lazy. The ruffle. Hannah Rubenick Partridge overacting word clearly goes to the hotel clerk in the Chinatown Hotel. She dials it up for two minutes. She's screaming.

[Sierra]

I would also go for Cherry. When he sees that Jack isn't dead.

[Van Lathan]

Oh, he's going crazy.

[Bill Simmons]

Ben, you have a flex.

[Van Lathan]

All right, another list. The another 48 hours award for Best Black Guy, White Guy Action comedy duo. Okay, okay, so we're starting at number five, Running Scared. That's Gotta put it in there. I think this movie is criminally underrated. People don't talk about.

[Bill Simmons]

We did on The Rewatchables.

[Van Lathan]

Number four, 48 hours. Reggie and Jack. These are just duos.

[Bill Simmons]

I would have that one, but. Go.

[Van Lathan]

You'd have that one?

[Bill Simmons]

Yeah.

[Van Lathan]

There's only one. One. Okay, there's a clear one. Number three. I slid this one in here. I don't know if I can actually use it. I'm going. Vincent, Jules from Pulp Fiction.

[Bill Simmons]

You can count. Okay, counting it.

[Van Lathan]

Vincent, Jules, Pulp Fiction.

[Bill Simmons]

Great one.

[Van Lathan]

A little bit of a stretch.

[Bill Simmons]

Whatever. Not a stretch for me.

[Van Lathan]

Okay, number two. This is not an action, but this is a comedy. And this is one of the top white guy black guy duos in a comedy movie ever. And this is Wesley Snipes and Woody Harrelson. Sidney Dean and Billy. And White man can't jump.

[Sierra]

OK. Yeah.

[Van Lathan]

Number two. Number one is so fucking easy.

[Bill Simmons]

48 hours.

[Sierra]

No, it's Merton Riggs, man.

[Van Lathan]

It's Merton Riggs. The fucking over 48 hours. Why fucking Mel did you do it? It's like, I can't believe that he did it. A whole childhood with Mel and Mel threw it away. Lethal Weapon. Riggs and Murtaugh, by far maybe the best black guy, white guy duo ever in anything.

[Bill Simmons]

But the movie gets made because of 48 hours.

[Van Lathan]

What difference?

[Bill Simmons]

The prototype.

[Sierra]

Did you.

[Bill Simmons]

I think Kobe's better than MJ.

[Van Lathan]

Gene Wilder. I never said that. I do think MJ's better than Dr. I do think MJ's better Than. Than Dr. J.

[Sierra]

Where you think Kobe's better than MJ? Is that something you think?

[Bill Simmons]

If you put like three. No, three Pabs blue ribbons in it. North Beach.

[Van Lathan]

I do think MJ is better than Dr. J, though. I think 48 hours is Dr. J and lethal Weapon.

[Bill Simmons]

That's fair. I'll accept the argument. I disagree. But it's fair.

[Van Lathan]

So you. You really don't think that Riggs and Murtaugh are number one?

[Bill Simmons]

If you're going to put it like that. I see it. If you're going to make the 48 hours as Dr. J.

[Sierra]

Did we create a weapon two yet for rewatchables?

[Van Lathan]

Yes.

[Sierra]

We did that for years.

[Bill Simmons]

We haven't done three.

[Van Lathan]

There are a couple honorable mentions. Django, Men in Black. A personal one for me that nobody cares about the Last Boy Scout.

[Bill Simmons]

And then we've done the last Boy Scout. I totally care about last.

[Van Lathan]

I love the last Boy Scout. And then one that no one ever brings up is Money Talks. I really feel like In Money Talks, Chris Tucker and Charlie Sheen have fantastic chemistry. It was a really good movie to me. I liked it.

[Bill Simmons]

It's a good list. So you wouldn't put Men in Black in there?

[Van Lathan]

Men in Black didn't make. I was trying to think of what to take out for Men in Black.

[Bill Simmons]

I wouldn't put Men in Black in there either.

[Van Lathan]

Men in Black could maybe bump out Running Scared, but I just think running scared is like a.

[Sierra]

Were you a Richard Pryor, Gene Wilder guy?

[Bill Simmons]

I was as a kid, but I don't think those movies have held up great. Yeah, Silver Streak's okay. I would have added Crockett and Tubs to that. And then I would have been able to move into Colin Farrell and Jamie Foxx, which arguably could have been number two.

[Van Lathan]

If you're talking about overall duos, Croc and Tubbs is way up there. This was a movie thing. But if you talk about overall duos, Croc and Tubbs, it's certainly the best on tv.

[Bill Simmons]

I'm a fiend for mojitos.

[Sierra]

It's a good list.

[Bill Simmons]

Good list.

[Van Lathan]

Appreciate you guys.

[Bill Simmons]

The CR Thinks Luke Wilson could have been Harrison Ford. Hottest Take award. He already did his. What do you got, Van?

[Van Lathan]

No hot takes.

[Bill Simmons]

I have one.

[Van Lathan]

What's it?

[Bill Simmons]

This is my number one release, the Cut movie.

[Van Lathan]

Yeah, I see.

[Sierra]

Release the Walter cut.

[Bill Simmons]

This is it. What's your number one release?

[Van Lathan]

The Cut movie? The Cut that we've never seen. Well, it got released.

[Sierra]

The Snyder cut.

[Van Lathan]

Snyder cut was my number one.

[Bill Simmons]

So you don't have a number one now?

[Van Lathan]

Nah, now I have number one. I think of all of them. I've kind of seen them like. But the number one was I wanted to see what Zach would have done.

[Sierra]

Make us a promise right now. When you know where the finish line is for you and you're like, I think it's going to. I think I got a couple more years left. About 18 months out of.

[Bill Simmons]

Where am I going?

[Sierra]

I'm just. Just make me a promise you'll understand. You use the platform. You have to get the. Another 48 hours.

[Bill Simmons]

Why can't I do it now?

[Sierra]

Well, I don't know. I don't know if you've got the juice.

[Van Lathan]

Oh, hold on, hold on.

[Sierra]

Wait a second.

[Van Lathan]

Chris, what the fuck are we doing here?

[Bill Simmons]

No, I see what he's doing. He's known me a long time.

[Van Lathan]

I'll tell you something, though. I know you've heard about this. We're in the midst of the re.

[Sierra]

Apex of Bill.

[Van Lathan]

Yeah. You ever heard about this?

[Sierra]

Prove it then. All I know is that apexed out Bill Simmons should be able to get the Walter Hill cut of Apex.

[Van Lathan]

Re apex. Bill can get.

[Bill Simmons]

Craig just told me about this.

[Van Lathan]

Craig? Craig. You heard about the re apex.

[Sierra]

Walter Hill and be like, name your price.

[Craig]

This is Brady in his late 30s. That's what you're on right now.

[Van Lathan]

This is it.

[Bill Simmons]

The last three.

[Van Lathan]

Which Brady, like the 28 three. Brady.

[Craig]

Yeah.

[Bill Simmons]

Malcolm Butler game through the Butlers.

[Van Lathan]

Yeah, yeah, the re Apex.

[Bill Simmons]

So the re Apex would have to include a release the cut or you.

[Van Lathan]

Can get it done.

[Bill Simmons]

My number two would be. I had a wide shut.

[Sierra]

Oh, yeah.

[Bill Simmons]

Because I think that we have a lot of evidence that there might have been a version of that movie before Kubrick died and then God only knows what we ended up with. But I think that would be number two for me. What about anything else for you as.

[Sierra]

Far as director's cuts? I feel like more often than not now we get the cuts.

[Van Lathan]

Yeah.

[Bill Simmons]

It's funny. One of the ones I always wanted was 54. Because I kind of like that movie. But that. And it was supposedly, like, chopped to death. Like this movie.

[Van Lathan]

Oh, and then 54.

[Bill Simmons]

54. The Ryan Philippe Myers. Mike Myers. You remember that? It's one of the funniest moments in a drama of all time.

[Sierra]

This has been a weird episode of this pod.

[Bill Simmons]

You don't remember that?

[Van Lathan]

I do.

[Sierra]

For some reason, I thought you were referring to the Roger Maris Mickey mantle movie.

[Van Lathan]

That's 61 freaks out. And he comes on to what's his face.

[Bill Simmons]

He comes on the right. He's counting the money.

[Van Lathan]

He's counting the money. He's drunk, he's high.

[Sierra]

Yeah.

[Bill Simmons]

The whole. It was a drama. We saw it in Boston and the whole movie theater started laughing.

[Sierra]

I got.

[Bill Simmons]

It was like one of those.

[Sierra]

It's pretty hard for me to turn down a Studio 54 movie, though.

[Bill Simmons]

Well, that's why. So they do the director's cut and it's. You can get on Amazon and there's like 12 more minutes. And it supposedly ties together all this stuff. It's like a B minus. I almost wish I never saw the director's cut.

[Sierra]

It's the best director's cut I've ever seen. Is Kingdom of Heaven 1.

[Van Lathan]

Oh, well, that changes the entire movie. That makes the movie the movie was. I already kind of fuck with it. But that makes the movie into a fucking timeless epic.

[Sierra]

Yeah.

[Van Lathan]

When you watch the director's cut of it. What a weird story.

[Bill Simmons]

By the way.

[Van Lathan]

How could something like that happen to Ridley Scott.

[Sierra]

I know. Well, I mean, it was, to be fair, like a 3 hour and 10 minute movie.

[Bill Simmons]

Proof of Life would be a good director's cut release. Well, we'd find out what would happen with Russell Crowe, Meg Ryan.

[Sierra]

Okay, Is there a scene about that?

[Bill Simmons]

You're not even with me anymore on Proof of Life. I am like, Sean, it's like, no, no. It's like, all right, I gotta suck up.

[Sierra]

You can't fucking say that. I was there with you on Dick one. Stuff of Legends. You know that I'm here with you.

[Bill Simmons]

You wouldn't want two extra scenes?

[Sierra]

Of course I would. Yeah. Were they shot, though? I can't remember.

[Van Lathan]

Why would those.

[Bill Simmons]

Oh, they were definitely shot. Those got cut.

[Van Lathan]

Those two extra scenes would explain the infidelity that happened on set.

[Bill Simmons]

Well, they.

[Sierra]

No, they.

[Bill Simmons]

Well, that's why they cut him.

[Van Lathan]

They cut. Okay. I don't know what's. I don't know this.

[Bill Simmons]

So you know he saves her husband in the movie, right. Does this whole thing. But they. She's. He says goodbye to her when they're about to save David Morse, the guy that she's married to. And they have this moment and they kiss and it's clear, like, other stuff has happened that they cut out. And then it's like this whole, like, love triangle. But we never saw the scene that led up to the love triangle. Yeah, there's like, no, everything got cut. All of a sudden they have this tension.

[Sierra]

It's like on the set, allegedly, there was this affair.

[Van Lathan]

That's the most enduring thing about the.

[Sierra]

Movie, is that David Caruso is the most enduring thing about the movie.

[Van Lathan]

The most enduring stuff of Legends, you know, Fucking like, they changed the public's perception of Meg Ryan after that.

[Bill Simmons]

Every single week, I look at the Just Watch website to see if Kiss of Death is on a streamer yet. And the answer is always no.

[Van Lathan]

That's a crazy fucking movie casting with.

[Bill Simmons]

Ifs don't really have any other than Frank McCrae was in this and they caught him. Best that guy award I can give you. So you think. You think Brent Jennings is not of that guy.

[Sierra]

I think Brent Jennings is that guy. I think Brian James is not of that guy.

[Bill Simmons]

Brent Jennings I have. Or the guy who plays Ben Cruz. Yeah, I didn't even know what that guy's name is.

[Van Lathan]

Yeah, he pops up a lot.

[Bill Simmons]

Yeah, he's been in a bunch of stuff.

[Sierra]

I'm going with Brent Jennings.

[Bill Simmons]

Okay.

[Van Lathan]

Brent Jennings helped me in my career.

[Bill Simmons]

Deion Waiters really One of my early.

[Van Lathan]

Successes at TMZ Oh, Got Brit Jennings on the street. I asked him about a kid in Arkansas. I don't know if you guys remember this story, but he was scoring too many touchdowns, and they made him stop scoring touchdowns. They said, you can only score, like, five touchdowns in a game. And then he had to drop. I asked Brent Jennings about it. He got excited. He knew all about the story.

[Sierra]

Where did you find him?

[Van Lathan]

He was, like, walking around Beverly Hills. I was like, hey, did you hear about this kid? They won't let him score any more touchdowns or else the team has to. It's called the Madre Hill rule. Like, based on Madre Hill who had gone to Arkansas. It's this big scandal. He knew all about it. He was excited to talk about it. Harvey was like, that kid's got.

[Bill Simmons]

Then he shot him in the air. Dion Waiter's the word. Bernie Casey is the winner.

[Sierra]

Oh, I asked somebody else.

[Bill Simmons]

Who do you have?

[Sierra]

Kathy Haas for the bar Stormers bartender. He's like, are you gonna tell me where? I need to know. Are you just gonna. A little bit more. He's like, I'm gonna. A little bit more.

[Bill Simmons]

That's pretty good.

[Van Lathan]

I had Bernie Casey, but that's not bad.

[Bill Simmons]

I can get you out there, Reggie. You will keep your word. I love him in this.

[Van Lathan]

He spoke like a Shakespearean, like, repay your debt to me.

[Sierra]

Yeah.

[Van Lathan]

Which thugs are.

[Bill Simmons]

I would have watched the directors. Cut five more scenes of them, Recast the couch. Director city.

[Van Lathan]

No, no, no.

[Sierra]

Walter Hill, San Francisco non negotiables.

[Bill Simmons]

Craig Flex category book about medals.

[Craig]

Belatedly best quote. I think there's some really good Eddie lines in this. I think he's very over the top angry, and then he balances that with some good restrained anger. There's a lot of talk about the wrongful conviction stuff I think is good. There's a line in it where he says, if shit was worth something, poor people would be born with no assholes. Yeah, I thought that was a great quote.

[Sierra]

There's also a really good line where he and Bernie Casey are getting into a fight and they're like, what was that about? He's like, old football. Bet that was a lot of good quote.

[Craig]

Any quotes?

[Bill Simmons]

I like what he tells Jack to leave. He's like, we got to talk black people stuff.

[Craig]

Yeah.

[Bill Simmons]

Does he has a lot of good. It's like, secretly, like, pretty good advanced stats for Eddie in this and.

[Sierra]

No, he's pretty good Nets. You were? Yeah. Okay. Yeah.

[Bill Simmons]

Half ass in research. So Reggie calls one of his friends in the movie and the guy's name is Willie Biggs. In the original 48 hours, that's what Reggie Hammond's name was going to be. And Eddie asked him to change it to a different name because he thought it was like too intentionally black.

[Van Lathan]

Okay.

[Bill Simmons]

So they settled on Reggie Hammond, brought back Willie Biggs. So apparently there's some book called the Films of Eddie Murphy. And they have the original screenplay for this.

[Van Lathan]

And.

[Bill Simmons]

Jackson. A relationship with a female cop who later says she wants to plant a gun at the racetrack to clear his name. And then there's some other stuff but that you can find out what they had in the original screenplay. Do you have this book? I do not.

[Van Lathan]

Fuck.

[Bill Simmons]

I was in the research. Apex Mountain. Eddie. No. Nolte. Getting close.

[Van Lathan]

Getting close to the Nolte.

[Bill Simmons]

No. Apex.

[Sierra]

Yeah.

[Van Lathan]

The re. Apex. Yeah.

[Bill Simmons]

Brian James probably.

[Sierra]

Although much to his chagrin.

[Van Lathan]

I remember. I feel like I remember he was.

[Sierra]

In a movie called Shocker. He was the star of the movie Shocker, which was a Wes Craven movie. Horror movie.

[Bill Simmons]

Frustrating action movie sequels. Is there a more frustrating but lovable movie than this? That was an action movie?

[Sierra]

Frustrating but lovable. Yeah. I'd say Predator 2 is frustrating but lovable.

[Van Lathan]

Oh, that's the answer. But I got. I'm in love with the fucking movie.

[Sierra]

Yeah, but it's like Predator 2 is. I think we would have a great time doing Predator 2 is rewatchable.

[Bill Simmons]

This is a pitch.

[Sierra]

Just saying. Danny Glover and Bill Paxton.

[Van Lathan]

You guys, I know that these movies aren't critically acclaimed, but these are. These movies. These movies aren't bad. That's like. That movie is fun as fuck. It's weird. It's all out there. I refuse to try to act like Predator 2 sucks. That's a good movie.

[Bill Simmons]

You're talking to a guy who did a two hour podcast on Species. Who are you talking to? Walter. Harold.

[Van Lathan]

No.

[Bill Simmons]

What did we decide? Walter Hill's Apex Mountain was not the.

[Sierra]

Warriors 48 hours or Warriors 48 hours. Probably. Yeah.

[Bill Simmons]

Cruise or Hanks.

[Sierra]

Wait. Apex Mountain, for guys flying through windows after being shot by a handgun. Doesn't get any better than this.

[Craig]

There's a lot of them in this.

[Sierra]

Movie and they take off like 20ft, you know, like. Like you get shot twice and you're just like flying across the bar and out of play. Glass of window.

[Bill Simmons]

It's like Shay Go just Alexander driving in the paint, flying backwards.

[Sierra]

You're already starting the agenda.

[Van Lathan]

Yeah.

[Sierra]

Cruiser.

[Van Lathan]

Hanks.

[Sierra]

Hanks as. As Jack. Is that we're talking Hanks as Reggie.

[Van Lathan]

Cruz is Ah, they don't work. It doesn't work.

[Bill Simmons]

It doesn't work.

[Sierra]

So we have to pick, though.

[Craig]

You do.

[Van Lathan]

Hank says Reggie. Or are we.

[Craig]

Are we Nolty? Eddie. Well, who are we picking?

[Bill Simmons]

No, it has to be the nolty part, I'd say.

[Van Lathan]

It can't be. Neither one of those guys can do that. It's. It's got to be.

[Craig]

So you have to pick.

[Van Lathan]

Okay, well, I'm saying.

[Sierra]

What about Hanks's Iceman?

[Craig]

No, it's got to be the lead.

[Van Lathan]

Okay?

[Craig]

The whole point is who could be the lead of.

[Bill Simmons]

This is the ruling.

[Van Lathan]

One other time I've seen you like this fantasy. Fantasy football.

[Craig]

The podcast, right?

[Van Lathan]

No, like the whole fantasy football debacle that happened this year where you caused the crash. You made.

[Craig]

No, I didn't cause the crash. Caused the crash.

[Van Lathan]

You guys caused the crash.

[Craig]

I sent a dissertation about a minor issue.

[Bill Simmons]

Sean stormed out of the text thread.

[Van Lathan]

That fucking hysterical. He's like, whatever. Sean goes. Let me show you. Sean fantasy has left the chat.

[Bill Simmons]

It is one of his funniest moves when he leaves the chat.

[Van Lathan]

That was hysterical.

[Bill Simmons]

All right, so we'll go with Hanks, Scorsese or Spielberg. Clearly Scorsese.

[Van Lathan]

Yeah.

[Bill Simmons]

Best hang, Worst hang. Probably Cherry Gans for worst hang.

[Sierra]

I feel like. I feel like the Brent. The Brent James character is the most, like, decent hang. Yeah, he's the most normal person.

[Bill Simmons]

Go to Vegas with them.

[Van Lathan]

Yeah, man. Angel. That's the best hang, baby.

[Bill Simmons]

Angel. Best hang.

[Van Lathan]

Angel's the best hang.

[Bill Simmons]

She's up in North Beach.

[Van Lathan]

She's up in North Beach.

[Sierra]

I think if you're hanging out with angel, you run the risk of running into Cherry. That. That could get complicated.

[Bill Simmons]

I think it's it.

[Van Lathan]

You always run that risk, though.

[Bill Simmons]

Angel, worst hang, Cherry Gans.

[Van Lathan]

Yeah. Cherry's too intense.

[Bill Simmons]

Hey, did you see the Phillies game today?

[Craig]

I got a co you terrible tattoo on him.

[Sierra]

Yeah, the teardrop.

[Craig]

Sloppy teardrop. It's way too big. It's, like, kind of in front of his.

[Sierra]

Well, he wasn't doing it for clicks. He was doing it because he put bodies away.

[Van Lathan]

He's a body man, baby.

[Sierra]

Yeah, it was no ig likes back then, man.

[Craig]

Wouldn't have gotten any.

[Bill Simmons]

We've covered a lot of picking nits already. Reggie does shoot a guy in the knee at the bar after having just got out of jail.

[Van Lathan]

Nothing happened. Assault with a deadly weapon.

[Bill Simmons]

Feels like that would have been something.

[Van Lathan]

One of the nits that I picked here is one of the. This is one of the top nits that I've ever picked in anything. Anything. There's a gunfight happening. I know that. The Asian hotel clerk lady. I know. She's a handful. No, she's a piece of work. There's a gunfight happening. She runs up to bitch Nick Nolte out during the gunfight. People are getting one guy screaming, I'm.

[Bill Simmons]

Gonna kill you, pig.

[Van Lathan]

Like she runs. There's like they busting at each other, going crazy. Yeah, she's still. So you guys are making too much noise. She runs up there to bitch out Nick Nolte while the gunfight is happening. It makes zero sense.

[Sierra]

Almost every revolver in this movie has 14 bullets.

[Bill Simmons]

That is weird. So how many realistically. I will ask American Sniper over here. How many can you realistically get off?

[Sierra]

6.

[Bill Simmons]

Is there an 8? Can you pull off 8 with a gun?

[Van Lathan]

What are you talking about? Are they. Are there guns where. There's eight in the chamber.

[Bill Simmons]

Cherry Gan shoots 13 shots. But Jack, or Buddy, one of those guys, Jack has a revolver.

[Van Lathan]

Reload a couple of times, but there. But this was a trope in 80s movies. They just did not care. Now legitimately, you see John Wick walking through the thing. Pop, pop, pop, pop, boom, boom. He cycles the rep and he reloads it. But in the 80s, they just didn't give a fuck about that.

[Bill Simmons]

Maybe that was the most 1990 thing about this movie.

[Sierra]

Never caring about reloading. Yeah.

[Bill Simmons]

Yeah. So Brent Jennings shot to death in a police morgue, getting ID'd like two seconds later. We lose all concept of time, isn't it?

[Sierra]

The bike.

[Bill Simmons]

The bike, Price.

[Sierra]

Yeah.

[Bill Simmons]

So Malcolm Price, they IDM all of a sudden, we lose 10 hours and there's no cut. Nobody goes to sleep in this movie.

[Sierra]

One of the scenes that got cut out, apparently is like Nolte getting to Malcolm Price's house, I think.

[Bill Simmons]

Yeah, he's just in the morgue.

[Van Lathan]

Nolte is involved in what? The investigators think it's a bad shoot. And he goes to trial immediately. Normally there's an administrative lead. One day later, there's a whole thing. There's a hashtag.

[Bill Simmons]

It's that morning.

[Van Lathan]

There's all kinds of shit that hashtag. But he goes, hashtag, freejack. Hashtag freejack. There's a whole thing. But he goes to trial immediately.

[Bill Simmons]

Two more picket nits for me. So Jack is a virulent racist in the first movie.

[Sierra]

Yes.

[Bill Simmons]

And then he said he quit drinking, so did he also quit being a racist? Well, why not?

[Sierra]

The two would be tied together. Is. Is the implication right?

[Bill Simmons]

Or did he Learn his lesson by the end of 48 hours when he apologizes to Reggie at torches.

[Van Lathan]

Yeah.

[Bill Simmons]

Now, is it he was done with racism at that point or did it still seep out?

[Sierra]

I bet it was condition. I mean, it's a different time, but it's conditional. It would have been interesting if they had done a movie in 1985. If he had still been a racist.

[Bill Simmons]

Bush presidency maybe helped him.

[Van Lathan]

He still turned his back on Reggie, still left Reggie in the slammer. Didn't even become the visitor.

[Sierra]

It's true.

[Van Lathan]

That's what you guys do.

[Bill Simmons]

All right. My biggest pick in it, Cherry. Cherry Gans?

[Sierra]

Yeah.

[Bill Simmons]

The fuck name is that?

[Van Lathan]

Yeah.

[Sierra]

I don't know. The other guy's name is Albert's game.

[Bill Simmons]

The guy's name like Hacksaw.

[Sierra]

I imagine it's Brad Ganz. And he just cherries his nickname, but I don't know what that comes from.

[Bill Simmons]

Bruce Biker is nicknamed Cherry, like Cherry. Gans should be dancing at north beach with Angel.

[Sierra]

Yeah.

[Bill Simmons]

That's not like a bad guy's name.

[Van Lathan]

I guess the question is, if you saw him and you heard the name, would you step. Would you be like, yo, that's a bitch name?

[Bill Simmons]

No, because he would just shoot me.

[Van Lathan]

And not go backwards. Which is why you're not going to do shit. Which is why he could be Cherry.

[Bill Simmons]

How did he get.

[Craig]

His real name is Richard. Richard Ganz. Dick Gans.

[Sierra]

Nickname Cherry Dick Gans.

[Van Lathan]

Dick Gans.

[Bill Simmons]

Dick Ganz.

[Van Lathan]

Dick Ganz. Dick. Dicky.

[Sierra]

Say it again.

[Van Lathan]

Say. What did it say in 54. What did he say? What did Mike Myers say?

[Bill Simmons]

I already did it once. You're trying to get.

[Van Lathan]

I'm not trying to get it.

[Sierra]

We cap captured lightning in a bottle. You don't have to make him do it again.

[Van Lathan]

I wanted.

[Craig]

It's already on Instagram.

[Van Lathan]

Don't worry.

[Bill Simmons]

Yeah. God damn it.

[Sierra]

Tragically, Bill Simmons's podcasts were canceled by Netflix the next day.

[Bill Simmons]

Sequel, prequel, prestige tv. All black cast are untouchable. I would have done a third one.

[Van Lathan]

Hold on, I gotta say something. That would be a mistake by Netflix.

[Sierra]

Yeah, he's re apexing.

[Van Lathan]

What Netflix should do is they should. They should. Hold on, hold on, hold on. What Netflix should do is they should cut that. That and then they should put. Do you want to know what movie Bill Simmons is talking about sucking?

[Bill Simmons]

Monday.

[Van Lathan]

Monday.

[Bill Simmons]

Yeah, I would have done a third. 48 hours over a third Beverly's Cup. What if I think no was hot? As Van described earlier from 90 to 93, cop comes out in like 94. The third one, there's just an obvious is.

[Sierra]

Is you got to put Nolty in the bank. You put Jack in prison, and he gets brought out for 48 hours, and Reggie is the one helping him.

[Van Lathan]

You flip. Eddie's the big star.

[Bill Simmons]

Yeah, I have something about that. For unanswerable questions. But before we do that, is this movie better with Wayne Jenkins? Fergie the Florist, by the way. Sierra Kyle, the Brandt. Kyle Brandt loved Fergie. The forest. Did it for just one of the guys.

[Sierra]

Fantastic.

[Bill Simmons]

In your honor or somebody else. Who do you have? Cr.

[Sierra]

I got Tom Brady analyzing Angel doing both of those guys.

[Van Lathan]

Oh, shit.

[Sierra]

Well, KB First, Hickok had his way with. With the angel, and now you got a question. Does she have enough in the tank for Cherry? You always run into that with Eskimo brothers.

[Craig]

Two talented lovers. KB Excited to see what happens next.

[Sierra]

She's so impressed with her stamina. KB she's been dancing in north beach all day. Absolute talent.

[Bill Simmons]

KB with the cold weather, you have to change how you dance in the cage to use your tiptoes. Just want to Oscar. Who gets it?

[Van Lathan]

The stunts.

[Bill Simmons]

The stunts are great in this movie.

[Sierra]

Stunts are awesome.

[Bill Simmons]

And I think it won the award for best stunts of 1990.

[Sierra]

Honestly, we should make an Oscar for best motorcycle driving and it should be in for this movie.

[Bill Simmons]

Yeah. Probably. Unanswerable questions. So sometimes they'll do this in a movie where it's like, angel, she's the best. They did this in the Gold Club trial. Remember the Gold Club trial? They had the stripper. The Gold Club trial, they said was the Michael Jordan of strippers.

[Van Lathan]

Yeah.

[Bill Simmons]

I just always wonder how the reputation first gets earned and then spreads.

[Sierra]

You do wonder that.

[Bill Simmons]

Yeah, I do.

[Sierra]

Okay.

[Bill Simmons]

Like, you really have to stand out. So angel, apparently. I don't know if Van had any thoughts.

[Sierra]

What are you Googling?

[Van Lathan]

Something different just for strippers.

[Bill Simmons]

Like Angels. Like, they're talking about, what are the measures for strippers?

[Sierra]

Like, what's the pearl? Angel.

[Van Lathan]

But they're different disciplines. Right. So if you're talking about a stage dancer, there's that. If you're talking about a lap dance, there's that. If they're talking about her, I mean, there's different disciplines. Right?

[Bill Simmons]

Right.

[Van Lathan]

It's like. It's like they're five times extra.

[Sierra]

They're talking to cage dick.

[Van Lathan]

They're talking a little bit extra, like, what she does up there. But then how that translates to some extracurriculars after, you know, after hours. Yeah, but those guys Are definitely talking about legitimately. Which strippers grind on you and get your shit off. That's probably what Patrick Ewing was into.

[Bill Simmons]

So here's what I would have done for this movie. Unanswerable. Tell me if this would have been better. 48 hours to.

[Sierra]

It starts.

[Bill Simmons]

Reggie owns Voman's Romans.

[Sierra]

The bookstore?

[Bill Simmons]

No, the bar in 48 hours 1.

[Sierra]

Oh, okay.

[Bill Simmons]

The bar. When he's, like. When he meets Olivia. Brown is dancing with her, and Jack comes in near the end.

[Van Lathan]

Okay.

[Bill Simmons]

He's like, of course you don't know about this place. It's popular with the brothers. He owns Romance. He bought it. He's now buddies with Jack. Jack gets framed for a murder by Gans biker gang, goes to jail. Reggie has to mortgage romans for like 72 hours to get him out to find the biker gang. We flip it. Jack's the one in jail. Reggie has money. Reggie's now helping him, but he's got something online because he mortgaged a bar. I think it's a better movie.

[Van Lathan]

It's not bad.

[Sierra]

100%.

[Van Lathan]

I don't know that it's vampires and, like.

[Bill Simmons]

So maybe that should have been three.

[Van Lathan]

Yeah.

[Sierra]

So you want to keep the Western Brotherhood in the mix, though?

[Bill Simmons]

Yeah. I like the biker. Me too.

[Van Lathan]

Yeah. They have to bring him back.

[Bill Simmons]

What piece of memorabilia? Would you mind. Hold on.

[Van Lathan]

I have an unanswerable question.

[Bill Simmons]

Oh, what do you got?

[Van Lathan]

Which is a better movie, Lawyer in the Lace or Flesh Pot?

[Bill Simmons]

Saw that on the. In the Chinatown porn theater.

[Sierra]

Oh, yeah.

[Van Lathan]

Chinatown porn theater.

[Sierra]

Probably Flesh Pot.

[Van Lathan]

You think? I mean, just think about it.

[Sierra]

It depends on how much of a plot.

[Bill Simmons]

Well, you gotta think what won the AVN that year.

[Van Lathan]

Well, if you're. If you're. If you're into to. To. To plot, then it's gotta be Lawyer and Lace.

[Sierra]

I'm saying it depends. It's really a taste thing.

[Van Lathan]

And if it's usually going straight gonzo.

[Sierra]

Flesh Pie.

[Van Lathan]

It's Flesh Pot. I would go flesh 5 if it's just gonzo. You know what I mean?

[Bill Simmons]

The piece of memorabilia you'd want or not want from this movie, probably the motorcycle. Gans. Motorcycle.

[Sierra]

Gans Motorcycle is cool. I loved Reggie's car, man. I know we're not allowed to pick cars, but what about the Jax?

[Craig]

There's one brief moment where he's staring at that pen that has the naked woman on it that reveals herself when the ink goes down.

[Bill Simmons]

That's right.

[Craig]

That was kind of fun.

[Van Lathan]

Reggie's Walkman, all of that stuff.

[Bill Simmons]

Oh, the lighter would Be good.

[Sierra]

Yeah, the James Brown. I'd want the James Brown too.

[Bill Simmons]

Coach Finstock. Mr. Miyagi Award. Best worst life lesson. Craig already did it. If shit was worth something, poor people would be born with no assholes. Best double feature choice. 48 hours.

[Craig]

Sure.

[Van Lathan]

I went tangled in cash.

[Sierra]

Yeah. Spiritually, it's probably more related then.

[Bill Simmons]

Who won the movie? Eddie Murphy.

[Van Lathan]

Eddie won.

[Bill Simmons]

Craig, what do you got?

[Craig]

This is not a complicated rewatchable at all to me. To be honest. I enjoy this more than the first one.

[Bill Simmons]

Wow.

[Van Lathan]

Toads of.

[Craig]

I saw the first one because you guys did the original like in 2017.

[Sierra]

Early.

[Craig]

Really early. Pre categories. I was not producing the show, so I just watched it on my own a few years ago. I thought it was okay. I thought it was slow. Not nearly as funny as it should have been for how. Like, it's quite racist, obviously, but I didn't think it was that funny.

[Bill Simmons]

And I was just like.

[Craig]

I was like. I don't really get the appeal to this. Like, it's not even that funny.

[Van Lathan]

And this one quite racist, obviously.

[Craig]

This one cuts out all that. And to me, I thought it was funnier. I thought it was really enjoyable. And it's just as Van outlined in his, like, top five, you know, buddy cop thing. It's just something that works. If you get two charismatic people, it's 100 minutes. They're in a city, they're running around. It plays all the way up through the nice guy.

[Sierra]

What do we fucking do? When's the last solid black guy, white guy pairing we've had?

[Van Lathan]

Oh, shit.

[Bill Simmons]

I would do that guy. I'm starting to really like the guy from who's on SNL now. Cam Patterson.

[Van Lathan]

Camp Patterson. Yeah.

[Sierra]

I saw a little glimmer that I think we ain't putting him as somebody enterprises.

[Bill Simmons]

Or maybe he's. But maybe he's the Reggie Hammond type role.

[Craig]

It could be Shane Gillis and somebody or something like that.

[Van Lathan]

Could be. What?

[Sierra]

What?

[Van Lathan]

Okay, I think Cam is hysterical. So, like, what.

[Bill Simmons]

What Shane gets Shane is.

[Van Lathan]

I got one. I got. You put Cam with Timmy Tim Robinson. No Chalamet. You put Cam with Timmy Chalamet. Telling you.

[Bill Simmons]

Well, that means you could put that. Chalamet is the answer to every movie.

[Van Lathan]

But the point is, in this one, you're gonna put. You're gonna make. Either you subvert it and you go like, Timmy's straight up the straight lace one and Cam gets to go crazy, or you really fuck with the audience, you make Cam play it straight, and you let Timmy go fucking wild. Now and you put those guys together.

[Craig]

Murphy were major stars.

[Sierra]

This is why I was kind of thinking because of the actors on Actors Jordan and Shane Gillis, it would be Michael B. Jordan.

[Craig]

Just like having fun for a month on set. He's like, it, I'll just do this.

[Van Lathan]

See if it's Michael B. Jordan.

[Sierra]

But did you see Michael B. Jordan with Jesse Plemons in the Actors on Actors videos?

[Van Lathan]

I did.

[Bill Simmons]

But Michael B. Jordan's funny. He's never really unleashed that in a movie.

[Sierra]

Jesse is funny in Day Night.

[Van Lathan]

Yeah. So Jesse.

[Sierra]

Yeah.

[Craig]

Stars need to be more comfortable making movies like this because it's fun.

[Van Lathan]

Now, do you. Do you go generational here? Because a lot of these movies that we're talking about, besides the white man can't jumps and stuff like that, there's an age gap. And that age gap kind of builds into the comedy too. So you could go. If you're going to do mbj, you can go a little older if you want it.

[Sierra]

That's right. Well, MBJ, Robert Downey Jr. Do we.

[Bill Simmons]

Have confirmation on him doing Miami Vice yet?

[Sierra]

No.

[Bill Simmons]

Him and Austin Butler.

[Sierra]

I don't. I don't know what happened. I really. I really tried to wish that into existence and I don't know what's going on.

[Bill Simmons]

I don't know if Austin Butler works for me for that.

[Van Lathan]

Crockett?

[Bill Simmons]

Yeah, I don't think so.

[Sierra]

Who.

[Van Lathan]

Who works in that age?

[Bill Simmons]

I need him a little older. I don't know if he's old enough yet.

[Craig]

I also, I need to know if Austin Butler is okay not taking himself.

[Bill Simmons]

Seriously in a movie.

[Van Lathan]

Well, Sonny Crockett's kind of a. I.

[Sierra]

Mean, he doesn't really take. Yeah, Elvis. Like you think he takes himself seriously.

[Craig]

Elvis, That's a serious role that he really commits to. I want to see him like loose and having fun.

[Sierra]

Oh, yeah, he's pretty loose.

[Van Lathan]

Crockett's kind of a dower guy, though. Like, Crockett's not.

[Bill Simmons]

Like Craig was an actor.

[Van Lathan]

Oh, I was.

[Craig]

You didn't see my work.

[Van Lathan]

I haven't.

[Craig]

Nationwide commercial 2016.

[Bill Simmons]

Yeah.

[Craig]

Gruden grinder.

[Van Lathan]

Well, then why don't you fucking do it then? It's you and mbj.

[Craig]

I'm waiting. Waiting for the call. Ringer films.

[Van Lathan]

I gotta think of. I gotta think of who it would be. But like, they haven't done it in a while.

[Craig]

Like, Michael B. Jordan would be great. He's a big star. Django maybe charismatic.

[Sierra]

Now more than ever, we just need.

[Van Lathan]

To people view together and just make the Same jokes. Make. The jokes, like, make them. I remember white men can't jump. There's like a. The whole thing is directly. Just have the fun.

[Bill Simmons]

We know it's never failed where the people don't like each other for the first 40% of the movie and have to learn to work together, and then by the end, they like each other. Yeah, I'm gonna like that every time. I don't really care who the two people are. Just keep. I even like the heat with Melissa McCarthy and Sandra Bullock. I thought that was fun.

[Van Lathan]

Good movie.

[Sierra]

Opposites do.

[Bill Simmons]

It works. The Heat's good. You like the Heat?

[Craig]

Yeah. The other guys.

[Van Lathan]

Funny.

[Craig]

Works.

[Bill Simmons]

That's it for the rewatchables. Cr.

[Sierra]

Another great one from you.

[Bill Simmons]

I thought we all elevated each other.

[Van Lathan]

You never cease to surprise me.

[Sierra]

Make a prediction. Who's going to win the national championship tonight?

[Bill Simmons]

Well, but this is running on Wednesday.

[Sierra]

I know, but, like, it'll be a nice little time capsule.

[Bill Simmons]

I actually really think Miami's gonna win. I don't know why. I just think. And it'll open up this whole door to how long should somebody stay in college football with Carson Beck, who's, I think, my age at this point.

[Van Lathan]

Right. Indiana's whole team is 25. Yeah. Every single one of them, man. Extras in the first Girls.

[Bill Simmons]

Thanks, fan.

[Sierra]

No problem.

[Bill Simmons]

Thanks, Sierra. Thanks, Craig.

[Sierra]

Extras in the first in, like, the season of girls. And Eduardo.

[Craig]

Thank you, Eduardo.

[Bill Simmons]

Thanks, Eduardo. And Zodiac is coming up next. You have a week to watch it. Go watch that.