Tim Matheson plays the villain Alan Stanwyk, which mirrors Animal House: Otter was written for Chase, so Matheson did a Chevy impression there and now plays the lookalike who wants Fletch dead. — Bill Simmons
Mr. Underhill's two scenes hold up: shredding the waiter over a gratuity and exploding at the bill; he is like Judge Smales crossed with Hitler. — Bill Simmons
Kareem's IMDb page (Game of Death, Airplane, Fletch, 21 Jump Street, D2, Diff'rent Strokes, Saved by the Bell) makes him arguably the most successful athlete-actor. — Bill Simmons
The claim is about how the IMDb page looks at a glance, not actual acting success. — Bill Simmons
Rival athlete-actor contenders: Jim Brown (Mars Attacks, Any Given Sunday, The Running Man, The Dirty Dozen) and O.J. Simpson (Towering Inferno, Naked Gun).
The secretary exchange ('I'm Frida's boss.' 'Who's Frida?' 'My secretary.') is another pick. — Bill Simmons
The list of pseudonyms is read out, including Dr. Rosen, John Cocktoe Stone, Mr. Poon, Igor Stravinsky, Gordon Liddy, Don Corleone and Harry S. Truman. — Bill Simmons
Harold Faltermeyer's score is amazing 80s music with a Thomas Dolby influence, alongside his Beverly Hills Cop work; the Alpha Romeo chase song gets an honorable mention and Stephanie Mills sings the theme. — Bill Simmons
Siskel's point: once Beverly Hills Cop hit, action sequences and Faltermeyer music could turn a wry comedy into an easier-to-sell action comedy. — Sean Fennessey
Fletch's apartment, with the life-size Magic and Bird poster and the hoop on the wall, is the perfect bachelor pad for a guy who only cares about the paper and the Lakers. — Chris Ryan
His faded purple Lakers jersey is praised, but the 1985 Lakers-Celtics Finals prompt a joking 'I recant my statement' and talk of cancelling the pod. — Bill Simmons
Michael Ritchie is called the best sports-movie director ever, with a run including Downhill Racer, The Bad News Bears, Semi-Tough, Fletch and Wildcats; he only produced Bad News Bears Go to Japan, did not direct Shampoo, made the messy Golden Child, and The Candidate is recommended. — Sean Fennessey
Lisa Eilbacher as Jenny Summers (disputed); Jenny's red Mercedes convertible; the title; Harold Faltermeyer's score and the soundtrack; the Mumford Phys Ed t-shirt and cropped sweatshirts; Taggart and Rosewood; Murphy's early run of good directors; the rival cop duo
One host is still in love with Jenny Summers, played by Lisa Eilbach (as transcribed); the objection is not to the actress but to Hollywood casting interchangeable blondes with the same Kate Capshaw haircut, and another did not recognize her at all; what one host wants from the token female character in an Eddie Murphy movie is to dress well, laugh at his jokes and look great.
She is not a love interest for either man, though she tried with Eddie, which is saved for later; she is serious about her career and it costs her nothing, and her damselification is believable because she insists on driving to the warehouse; 'great character' is countered with 'definitely not a great character' since nothing motivates her, she works at a coke lord's art gallery, and the Jenny, Tandino and Axel triangle of friendship makes no sense.
Jenny is called a TV actress annihilated by everyone else on screen who did nothing afterward because she cannot hold the screen; a joke pitch imagines a Jenny Summers sequel in Don Simpson's office; she may be the first female gallerist in a movie.
The defense of Jenny Summers is framed as a 15-year-old's crush recalled in the past tense. — Bill Simmons
Jenny Summers' red Mercedes-Benz convertible is a dope car you cannot see anymore and is hard to keep in shape; in Beverly Hills they just take whatever car is closest; the little back seat is the Mikey spot.
The title is great, as if they came up with it before they had a script; Harold Faltemeyer's run through Top Gun and Fletch is admired, the score fit an era of synth musicians like Howard Jones and Wang Chung.
Faltermeyer is credited alongside Hans Zimmer on Top Gun Maverick, presumably because they use his themes; the soundtrack with The Heat Is On, Neutron Dance, Stir It Up and Nasty Girl is strong.
Martin Brest draws 'the less said the better' from one host and a Midnight Run defense from another, who calls it a perfect movie and credits Brest with two of the best comedies of all time, alongside Gigi (as transcribed) and Son of a Woman (as transcribed); it is hard to know how much credit he gets here beyond being smart enough to let Eddie ad-lib, and Midnight Run also does not work without its two stars.
The Mumford Phys Ed t-shirts were really a thing in the mid 80s with no internet to buy them, and the high school was flooded with requests; the Lions jacket in Cop 2 was intentional merchandising; the cropped sweatshirts, like the Josh Brolin Goonies look, are almost as iconic, and the hosts tease one of them about adopting cropped sweats.
The 'not gonna fall for the banana in the tailpipe' guy is enjoyed for setting it up earlier with the first team insult for Taggart, and the hosts miss the mid-80s cop movie rivalry duo with sarcastic comments; Eilbacher is put back in by a second and declared a law, with 'Eilbacher Mountain' floated.
