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Did you know Eddie Murphy was funny? That he always knew he would be a star? That he inspired many a black comic? That he was angry at SNL when David Spade took a dig at him?

If so, you’re good to go.

If you insist on watching this tepid Netflix documentary, prepare for what seems to be a retrospective about a funny man that inexplicably does not show him being all that funny.

There is no delving into his craft, no in-depth discussion of how he matured in stand-up or established himself in films.

There are no great stories of Hollywood.

There is, really, very little insight at all. 

Rather, Murphy is presented as a pleasant, sensible fellow, a bit of a homebody, guarded but practiced in the art of bland recollection.

It is all very boring, and made more so by the likes of Arsenio Hall, Michael Che’, Dave Chappelle, Kevin Hart, Jerry Seinfeld, Pete Davidson, Jamie Foxx, Chris Rock, and others basically blowing so much elegiac smoke up Murphy’s ass that he seems more demigod than man. Which is weird when you see his oeuvre laid out, and his sermon on the mount is playing so many characters in The Nutty Professor who can fart.

Look, I love Eddie Murphy. When I saw 48 Hours, I was blown away by his presence and the interplay with Nick Nolte, a buddy cop flick with real comedic teeth in the articulation of racial tension. I also thought Murphy was overlooked in Dreamgirls, though I was pleased to see his Best Supporting Actor nomination and was dying to hear him explain how he evoked a true falling star, and one with substance abuse issues, given his own clean living. As for his unheralded classic, Bowfinger, all we get is how it was nice for him to walk to lunch with Steve Martin.

The endeavor is generic, Commissar-approved dreck through and through. Though I give it 1 star for a few clips of Eddie’s hilarious, now deceased brother, Charlie.

Tediously directed by the same person who helmed The Longest Day, once dubbed “The Longest Movie,” Ken Anankin’s resume’ does not inspire confidence. The picture takes forever to start, and when it gets going, it is permeated with flat ahistorical battle sequences and clunky dialogue. All the actors seem to be taking their cue from Henry Fonda, who plays the lone officer who foresaw the Nazi surprise attack through the Ardennes. Fonda sports a ho hum bemusement that screams, “Did the check cash?” The usual suspects for WWII flicks – Telly Savalas, Robert Ryan, Charles Bronson – make their bank as well, and similarly phone in their personas.

A bore through and through, it looks cheap and inauthentic, particularly when they put the leads in tanks with the actual film footage on a screen behind them.

Very Batman and Robin TV show driving.

Though it maintains a soft spot in this old heart for reasons having nothing to do with artistic merit.

When I was in high school, due to economic strain, my mother was forced to take in boarders. One, Klaus Kristmas (name changed because if my Googling is correct, he’s a rather accomplished German government official) was a smart, ramrod straight, punctilious young man whose father was in the Bundestag. Klaus was great fun, and my mother immediately made him part of the family. He even came to the beach with us, where we recoiled in horror as he pulled down his shorts to reveal a European look, the mini-Speedo.

At home, I would hang out with Klaus and watch TV. One night, sure enough, we watched this flick, which is all Germans kicking ass for the majority of the picture. When Robert Shaw, as the lead Panzer commander, nears the oil depot that will allow his continued advance, however, things have shifted. Shaw burns to death when a fuel drum hits his tank.

Klaus: “Oh nooooooooooooooo,”

14 year old Filmvetter : “USA, USA, USA!!”

On Tubi.