Facing a 2nd-and-7 in the second quarter of Sunday’s game against the Atlanta Falcons, Denver Broncos quarterback Bo Nix threw a 33-yard strike to wide receiver Devaughn Vele to pick up a first down.
Nix threw over a linebacker and inside a safety to deliver a perfectly-placed ball for Vele. The All-22 film became available on Monday and the behind the end zone angle is absolutely beautiful:
“We got some shell and some two-deep safety looks today which opens up the middle of the field,” Nix said after the game when asked about throwing over the middle of the field. “I feel like we have been confident with those throws all year long. Today we got through the progressions and got to some of them. Two off the top of my head was Vele over the middle between the safeties. I thought that was extremely courageous to go through there knowing you can possibly be hit.”
This is presumably one of the Vele catches that Nix referenced:
On 2nd and 15 Denver shows their swing screen look with Mims in the backfield, Bo uses his eyes to manipulate the linebacker before firing in the free access slant to Vele who was fantastic in this one. pic.twitter.com/glx6NyriBC
Courtland Sutton (seven receptions for 78 yards) and Vele (four receptions for 66 yards) were Nix’s favorite targets on Sunday.
“Those two are just typical of what you get from them every day,” Nix said. “They are always battling to find ways to get open. They do not care if they are going to take a hit. They are willing to go through there for the betterment of the team. Football is a tough game played by tough people. We know that we are going to have to continue to do that kind of stuff in all spaces of the field to have success. Sometimes you have to take what they give you and they were giving us some over the middle shots today.”
Here are a few more angles of Nix’s two impressive passes to Vele:
Okay, Bo Nix. I guess we’re ripping tight-window throws on time at this level now. (The second throw made me laugh when I saw the end zone angle). pic.twitter.com/voEGgTnupz
Broncos coach Sean Payton praised Nix’s impressive pass during his Monday conference call with reporters.
“There’s never been — on his part — a lack of confidence, relative to his location,” Payton said. “He’s extremely accurate, but the windows are just quicker [and] faster in our league. They’re open for a shorter period of time. I think that’s one example of many, but one example where, ‘Does he make that throw Week 1 or Week 2?’ I don’t know, but certainly we’re all getting a chance to see growth as it plays out week by week.”
Nix finished the game 28-of-33 passing (84.8%) for 307 yards with four touchdowns and no interceptions. He has made huge strides from earlier this season and continues to make a case for Offensive Rookie of the Year.
Brothers is a gloriously stupid hidden gem. It’s on Amazon Prime Video now.
Twenty years ago, a movie like Brothers would open on a blustery October Friday, make about $15 million on opening weekend, play for about a month as a modest word-of-mouth success and eventually hit Blockbuster shelves for high schoolers to sneak-rent for a howler of a weekend evening with friends.
Far more Farrelly Brothers than Coen Brothers, Brothers is the kind of stupid crime comedy we used to get in bulk, back in the days film studios realized that people enjoyed watching funny movies in theaters with other people.
The cruel irony and/or sign of the times for Brothers is that it opened to little fanfare on Amazon Prime Video last month and has skipped out of the public consciousness as yet another movie skipped over on the routine streaming search. May it not be so, not with the perfect Thanksgiving movie ready to fire up with the adult members of your family you love but can’t always stand to be around.
Brothers is gloriously stupid, a movie so cartoonish and buffoonish that it hides in some pretty relatable themes about how you can’t choose your family, but sometimes, it’d be nice if they chose you for once.
Comedies like this have always been unfairly dinged for their lack of sophistication, as if aiming for the low-hanging fruit to make you belly laugh is some sort of genre crime. Brothers functions perfectly as both a silly farce and an excellent showcase for normally stoic actors to flex their funny bones.
Josh Brolin, Peter Dinklage and Glenn Close aren’t typically the people you see in Happy Madison-y movies, but getting them in a comedy directed by Palm Springs‘ Max Barbakow and written by I Don’t Feel at Home in This World Anymore‘s Macon Blair should’ve been heralded as a grand arrival.
Brolin and Dinklage are irresistible together, as the former plays dorky dad far better than you’d expect and the latter in a refreshingly low-life mode we don’t normally get to see him in. Marisa Tomei shows up for a wacky few scenes, and this is one of the last times we’ll get to see the late, great M. Emmet Walsh show up in the kind of supporting role where he always thrived.
Some NSFW language to follow.
However, the film belongs to recent Oscar winner Brendan Fraser. Fraser has always been a genius at finding his groove in any comedic setting. He’s perfectly capable of playing the smartest and dumbest person in the room, often in the same scene. Here, he gives what just might be the most hysterical performance of his career, one so wild and free in a way we haven’t seen Fraser in so, so long.
Combining the drool-mean menace of Rugrats‘ “Big Boy” Pickles and the foolish tenacity of a yippy puppy that can’t control its bladder, Fraser transforms himself into a Looney Tunes failson goon for the ages. Quite literally every single one of his scenes is funny, throwing in off-kilter line deliveries and gleefully reckless physical comedy to create a go-for-broke performance that is so special.
It’s one of the great recent post-Oscar performances, one so free of any ego and so in love with its own idiocy. Fraser is having unreal amounts of fun again in a good comedy, a wonderful sign nature really is healing.
If you want to turn your brain off for just a bit and enjoy a studio comedy with good actors and wily creative minds behind the camera, Brothers is an oasis in the desert. We need more stupid, mid-budget comedies like this, ones that aren’t doing anything new to make you laugh but still get the giggles in spades.
Nolan’s next project has reportedly been dated for July 17, 2026, with fellow Oscar winner Matt Damon in talks to star and reunite with the director for a third time, per Deadline’s Justin Kroll.
As is typical with Nolan films, this next project will reportedly feature an IMAX release, per Deadline.
Kroll added that an early 2025 shoot for the new movie is expected, which means further casting will start to filter in in the months to come.
Megalopolis is absolutely remarkable filmmaking from a stark-raving mad genius.
Having spent $120 million of his wine fortune to bring his multi-decade passion project to life, Francis Ford Coppola seemingly wanted to play by his own rules with Megalopolis.
The polar opposite of a trendy studio lob with box office baked in, Coppola finally realized his great white whale by breaking through the glass ceiling of what even a resplendent imagination like his is capable of conjuring.
Rather than pay self-homage to his grand works, Coppola plucks your head off your shoulders, puts it on a game board and spins it like a top around his kaleidoscopic fable of two worlds, one from his wildest dreams and another from his worst nightmares.
Somehow playing like a Robert Zemeckis reimagining of Citizen Kane, a head-over-heels romance out of the French New Wave and a thornily politicized episode of Tim & Eric’s Bedtime Stories, the towering director is trying to take whatever strands of cinema he has left to invite a societal plunge into something new, fresh, perhaps bewildering in formal grasp.
Occasionally, it’s unwieldy and free-flowing like Dadaist community theater. Occasionally, it’s basically Coppola endearingly cribbing from Orson Welles, William Wyler and Frank Capra with the unburdened visual splendor of the Wachowskis. Occasionally, it’s so gonzo-bonkers public access delirium you start to wonder if Coppola is trying to emulate the after-midnight block of Adult Swim.
It’s formally daring and occasionally lost in its own train of thought, a film guiding its audience like the ghosts of Roman Art-Deco past, present and future through what Coppola thinks we can be and what he’s pretty darn worried we’re veering toward. While the film carries the exhaustion and sloppiness of a great pitcher making one last, triumphant stand at the mound before his arm gives out, it still coalesces into an outrageous achievement in the medium by one of its all-time architects.
While Megalopolis’ plot mechanics operate with the same discipline of an errant gob of Flubber, Coppola’s general template is pretty easy to grasp.
One character (Adam Driver) represents a beautiful future, one where we’re not afraid to let go of what we have and reach for the sky, even if we occasionally falter and lose our way. Another (Giancarlo Esposito) represents holding firm to the practical past and the status quo, suspending moral and imaginative potential for the same neon lights that guide the public and private. Two more (Aubrey Plaza, Shia LaBeouf) just want to scheme their way into power, using the media available to them to manipulate the citizenry.
Coppola knocks around these characters-as-pillars of thought like Kaijus in a Godzilla movie, which can play as so obvious that even a fifth-grader could write a compelling essay on Megalopolis’ themes. Perhaps that’s the point? Freeing himself, for better and worse, from the complexities of progress, Coppola might not fulfill philosophical brilliance as much as he absolutely soars in the realm of using film to make you feel his message all over.
That’s the power of movies, after all. Even the shakiest of scripts and outlandish of approaches can stir together in a big, boiling pot to make for something special and delicious. Coppola even tears through the fourth wall when the film is rendered in its intended form, as a person in the actual theater has a brief-yet-stirring dialogue with Driver’s character on screen.
Courtesy of Lionsgate
That hasn’t been attempted anywhere else but Muppet*Vision 3D when a Disney Parks cast member in a Sweetums costume pops out from behind the stage with a flashlight to look for a wayward Bean Bunny. Like Jim Henson, Coppola is a true visionary who isn’t afraid to scramble your expectations in real time with mirth and chaos.
Your mileage, to be very clear, may vary.
Megalopolis isn’t a great movie in the same way Dune: Part Two and Challengers are great movies. Coppola’s film isn’t as meant for mass appeal as it is for the most adventurous and generous of audiences, ones who can withstand the film every now and then hewing closer to The Room than The Godfather. There is a real intent, whether purposeful or accidental, to the film’s most slack-jawed moments, as if Coppola is trying to grow his warning for a grim American future in the same soil Mike Judge used for Idiocracy (you know, the one watered with Brawndo, which has what plants crave).
It’s that 2006 comedy masterpiece powered by electrolytes that Megalopolis may well share its most kinship with of any other film, as Coppola and Judge both have roughly the same idea of where we’re headed if we can’t dig a little deeper and dream a little bigger. Whereas Judge took more of a drooling Brutalist, King of the Hill from Hell approach, Coppola really seems to have borrowed heavily from the cringe-laugh Tim and Eric aesthetic as much as anyone when trying to ridicule his society crumbling on a hill. This movie is absolutely hysterical when it wants to be, and don’t assume it’s by mistake.
In contrast, his most optimistic moments feel like they’re born out of the latter Matrix movies and the collective works of Robert Rodriguez, a computer-generated utopia utilizing whatever technology is available to welcome us into something lush, peaceful and plentiful. It’s in those scenes where Coppola throws caution to the wind and leaves himself at his most sweet and vulnerable, where the man who made more than one great American epic just speaks from his heart, however awkward and messy that might get.
Courtesy of Lionsgate
At times gleefully crass and indulgent, at times disorienting to the point of slight vertigo, at times so genuine that it hurts, Megalopolis feels like the culmination of a fever dream for a filmmaker finally getting one last chance to challenge us, as the vox populi and as the moviegoer, to want more for ourselves. In an era where studio movies have become so homogenized and serialized, it’s downright whiplash to go from comfort food to a eleventy seven-course tasting menu whipped up by a stark-raving mad genius chef.
That’s the beauty of Megalopolis. As soon as its rushed ending immediately zooms you into a better future, the credits roll and you feel as if you’ve woken up from a deep sleep. You might not be able to put this film back together like a puzzle in your mind, but you won’t be able to shake the feeling you just witnessed something monumental, either. It’s in your bones.
Whether you think it’s monumental gold or monumental garbage is up to you, but Coppola can rest easy knowing he did it his way. In this day and age, that’s a pretty remarkable thing to behold. Even if you quibble with the logic and assembly, you cannot deny the singular, awestruck vision.
Parasite director Bong Joon-ho’s latest film looks sensational.
More than half a decade after his 2019 film Parasite became the first non-English language film to win Best Picture, Oscar-winning auteur Bong Joon-ho is finally back, and he’s swinging for the galactic fences.
Leveling up in terms of budget, scope and star power, Joon-ho’s Mickey 17 looks like one of his most original and out-of-this-world wacky efforts right out the gate.
Starring Robert Pattinson as a man who joins a company where he regenerates with a new body each time he dies in the name of science, Mickey 17 looks like a fascinating switch-up from Parasite and reminds us a good bit of his previous films like 2014’s Snowpiercer and 2017’s Okja.
Honestly, this looks like Joon Ho’s most outwardly comedic film since his 2000 debut Barking Dogs Never Bite and absolutely not a typical Oscar film.
It also looks like an absolute blast, the kind of truly daring, wildly original sci-fi film with a massive budget that we just do not get anymore in theaters. It’s absolutely thrilling that we’re getting a movie like this from a major studio in the month of January. Like, this does not happen.
Just one trailer in, and it’s already clear that Joon-ho used his Parasite director cache and a bunch of Warner Bros. Discovery’s money on his version of a Paul Verhoeven-coded Star Trek movie. How cool is that?!?
The film comes out on Jan. 31 next year, and we cannot wait to see what’s in store.
What’s it feel like to die? From director Bong Joon Ho, comes Mickey 17 – only in theaters January 31, 2025. #Mickey17pic.twitter.com/C3mRquxllY
Check out what Brian Baldinger had to say when he broke down #Chiefs WR Xavier Worthy’s preseason performances.
Blazing-fast rookie wide receiver Xavier Worthy was a notable acquisition for the Kansas City Chiefs in the 2024 offseason and has already logged 62 receiving yards on three receptions and scored a touchdown in two preseason appearances.
The Texas product looks like he will be a key contributor in the Chiefs’ receiving corps for this season, especially if his speed can help bring the deep passing game back to Kansas City’s offensive game plan.
This week, NFL Network analyst Brian Balndinger broke down the film of Worthy’s performance against the Detroit Lions and provided valuable insight about the Chiefs’ rookie receiver on Twitter.
Though it is unclear how much playing time Worthy will get against the Chicago Bears on Thursday night, fans can look forward to seeing him suit up for his regular season debut when the Kansas City faces the Baltimore Ravens on September 5.
Take a look at Geoff Schwartz’s breakdown of #Chiefs OL Kingsley Suamataia’s performance against the #Lions this weekend.
The Kansas City Chiefs are using rookie tackle Kingsley Suamataia heavily during the preseason to prepare him for his first year in the NFL. The 2024 second-round pick is set to be a starter in Andy Reid’s offense this year, and has already shown flashes of brilliance in Kansas City’s exhibition matchups.
Suamataia got a lot of playing time this weekend in the Chiefs’ matchup against the Detroit Lions, and despite the a narrow 24-23 loss for Kansas City, the young tackle’s performance warranted a second look from an expert.
Retired NFL guard Geoff Schwartz, who spent the 2013 season with the Chiefs and started games for Kansas City, posted a breakdown of Suamataia’s latest showing on Twitter, and shared his thoughts about the rookie’s development:
Kingsley Suamataia film review against the Lions. It's nearly 10 minutes long but worth your time.
Couple of notes. Looks comfortable with the 1s which is a good start. Wasn't much action in the run game but showed good movement skills.
Ex-NFL QB Chase Daniel, breaks down the snaps Denver Broncos Bo Nix participated in on the field against the Colts as the Broncos choose between 3 QBs for a starter
The Denver Broncos are using the preseason to guide their pick for the next starting quarterback and currently three contenders, Bo Nix, Jarrett Stidham and Zach Wilson, are competing for the job.
Head coach Sean Payton is impressed with the trio of candidates after all of them played the first preseason tilt ending in a narrow 34-30 victory against the Indianapolis Colts and looks to the upcoming matches to inform a final decision on the Broncos QB1 spot.
Ex-NFL QB Super Bowl champion Chase Daniel, a veteran who was signed with 8 teams over a 12-year stint in the league, breaks down the snaps Bo Nix participated in on the field against the Colts.
While the rookie Nix from the University of Oregon looks to be a possible favorite against the more experienced post-draft additions Stidham and Wilson, the Broncos will send out their cast of quarterbacks against the Green Bay Packers in the next match where all three players compete to inspire confidence in head coach Sean Payton.
Believe it or not, Deadpool & Wolverine is really good. Here’s why.
When the Marvel Cinematic Universe slammed down the blockbuster dunk of a decade with Avengers: Endgame, the studio behind it made an incredibly regrettable error that nearly undid everything that came before. It kept going.
The finality of what absolutely should’ve been the last Avengers film instantly got zapped out with a barrage of slop content meant to boost up a streaming service (except you, first season of Loki, you’re innocent) and mostly wayward films that couldn’t help but scream to you to come back next week before the sun even set on the end credits. And whatever the heck Eternals was.
The real Marvel Cinematic Universe successes post-2019 have been the final Guardians of the Galaxy film and the Sam Raimi Doctor Strange film, one the end of a standalone trilogy from a filmmaker that just bolted for the competition and the other a gleeful subversion that caught flak from some fans for daring to actually make any of this series morally complicated.
With declining box office receipts and lukewarm reviews, MCU head honcho Kevin Feige stares down the first real studio catastrophe in its existence, its strict adherence to minimal risk finally collapsing on shotty visual effects, radioactive storytelling and boredom out the wazoo. Sure, people ate up the Spider-Man movie with all the Spider-Men, but that wasn’t even the best Spider-Man movie of this decade (hey, Miles Morales).
The grandest irony is the best thing Feige has produced this decade came from trash heap he escaped at the beginning of his career and inherited from a bunch of nauseating studio merger nonsense: the Fox-Marvel-a-verse.
Marvel Studios
Watching Deadpool & Wolverine is like hanging out with that friend from high school who you always used to get in trouble with, felt you should maybe distance from once you got older and eventually relented to welcome back into your life because, in the end, the fun is just too good to miss out.
As much as you’d worry Feige’s suffocating corporate tidiness and cheeky PG “made you look” double entendres would swallow the Deadpool formula whole into something fitting the Disney affiliation, the “Merc with a Mouth” meta meat monsoon sweeps up the MCU into its most purely enjoyable project in half a decade.
For once, you actually feel like the studio is having fun with itself and trying to find some sense of hard-earned finality like James Gunn did with his final Guardians film instead of trying to pull the franchise like a Stretch Armstrong until the latex rubber pops and the gelled corn syrup gets everywhere.
Instead of trying to retcon a major character by saying he was an alien this whole time (see Invasion, Secret), Feige seemingly closes his eyes long enough to let Ryan Reynolds and his merry band of merciless marauders poke fun at how bad the MCU has been lately and try to argue that maybe treating happy endings like scabs to be picked off isn’t the best idea to respect your widely-beloved movie series.
Marvel Studios
The third Deadpool relishes in its spritely irreverence like it always has while still having the gall to tug at your heartstrings here and there, if only because the Marvel brand has become so ubiquitous in our culture and our memories. Even the most shameless cameo from 2005 makes you wince a little to let the nostalgia make you feel old and long for the simpler, stupider days of trashy superhero movies with Evanescence needle drops, television actors masquerading as movie stars and horrible computer graphics.
Deadpool & Wolverine feels like Costco-sized wish fulfillment for all the millennial fans of the Fox Marvel movies that seemed destined for the dumpster once Disney scarfed up their parent studio, as Hugh Jackman comes back once again as a variant of his take on Wolverine and the X-Men lore plays heavily into the plot. He’s splendid, as is the way the film weaves in Emma Corin’s evil Charles Xavier twin sister and all the ragtag characters from Fox Marvel’s past we wouldn’t dare spoil for you.
Indeed, there are countless Fox Marvel cameos to make the greying nerds yelp in celebration, but they’re not just shoehorned in for pandering satisfaction. The entire movie is a half-drunk, slap-happy eulogy to a time when you didn’t get the same dad gum superhero movie series multiple times a year and on your television streaming services, one where you could run from the heroes until you started to miss them again. It’s a film practically begging its cosmic overlords to let things die and honor their flawed accomplishments by refusing their exhumation for marketing opportunities.
Marvel Studios
The film does so by ignoring its own pleas with reckless abandon, the film’s opening scene such an aggressively garish disrespect to the emotional anchor weight of the Logan ending that it somehow does blindfolded backflips into unbelievable levels of endearment. By being so willing to do something positively grotesque with one of the great superhero finales ever, you feel the unabashed love and respect for why that ending is such a wallop in ways the MCU feels allergic to finding in its own movies. Bringing Jackman back feels so craven on paper, but Deadpool & Wolverine manages to do so earnestly without letting the parody of the decision fade fully into the background. There’s method to the madness.
In Feige’s world, you either refuse to take a joke or refuse to take it seriously, creating a tonally confusing vacuum where punchlines get strewn about like Legos on the carpet and generational emotional payoffs get undone a week later by multiverse nonsense. The Deadpool formula has no time for such tepid commitment, jumping butt-naked into its darkest, gut-busting vices and winningly brash, radio-pop soundtrack choices.
While it feels a bit self-defeating for a movie so passionately begging for the MCU to learn from its mistakes of oversaturation to be juxtaposed with Feige even vaguely discussing a world where the studio resurrects Robert Downey Jr.’s very, very dead Iron Man, you still appreciate Wade Wilson’s wisecracking wisdoms. His trolling is also deathly sincere, opposed to the cloying irony that has so often plagued these recent Marvel films when they’ve tried to be funny.
Marvel Studios
Deadpool & Wolverine is a very good X-Men movie, an absolutely hysterical Deadpool movie and probably the most daring MCU movie not directed by Gunn or Raimi since the first Black Panther. It’s also the anti-MCU movie, flipping through a dusty scrapbook from under the bed that reminds us unceasing uniformity never beats a fast food meal with a last, greasy bite.
After all the silly handwringing about Martin Scorsese correctly saying that the MCU films aren’t classical cinema, how delightful to finally get one of these movies that’s so comfortable in its identity as theme park fun that it gets much closer to a cinematic standard than any of its boring peers.
This isn’t Lawrence of Arabia, but it’s sure better than Ant-Man: Quantumania. Even Deadpool knows when it’s time to shut up and let someone else do the talking.
Let’s rank the Beverly Hills Cop movies, including the latest installment on Netflix.
The Beverly Hills Cop films make up one of the most successful comedy franchises in box office history, thanks in large part to Eddie Murphy’s bona fide movie star performances as Detroit cop Axel Foley.
After 30 years since the widely panned third installment, Murphy returned as Foley in this month’s Beverly Hills Cop: Axel F on Netflix.
With Murphy returning to one of his defining roles after three decades, it’s worth looking back at the series and ranking how these seismic comedy films stack up against each other.
With four installments, there aren’t many to rank. However, it’s still fascinating to look back on the varying levels of success Murphy and company found with these buddy cop movies.
4. Beverly Hills Cop III
Series co-star Bronson Pinchot noted in 2009 that Murphy seemed “very low-spirited, low-energy” on the film’s set, as the film came during a downward slope in Murphy’s illustrious career. In fact, Murphy has recently been critical of the unsuccessful third installment in the series, and it’s not hard to understand why. John Landis stepping in and infusing more of his patented shtick felt like such an aggressive departure from Tony Scott’s more gritty second installment, and setting almost the entirety of the film at a Disney World knockoff still doesn’t make a ton of sense when the previous two installments had grounded themselves in Murphy’s gleeful subversion of 1980s Beverly Hills’ yuppie utopia.
Even if he was somber on the set, Murphy does his best to lift the sagging plot with his charm. Even so, Foley running around Wonderworld just doesn’t hit the same as him driving around the streets of Beverly Hills. If the film has a couple of virtues, it’s a fascinating curio of its time, and Judge Reinhold thrives with the added attention on Billy Rosewood. Even if the film isn’t very good, you can’t ever say this one is boring.
3. Beverly Hills Cop II
Making a comedy sequel is tough, as you’re constantly trying to play the same beats that made people love what came before all while trying to justify why viewers can’t just stay home and watch the original. Beverly Hills Cop II feels like a movie pushing against itself; it’s all at once trying to recapture lightning in a bottle all while giving an in-demand Tony Scott the space he needs to make, well, a Tony Scott movie. The results are more satisfying than not, as Murphy’s never-ending ability to make you laugh and Scott’s steady hand at the wheel more than compensate for repeated story beats. The film’s third act takes an uptick for the better and really delivers the unique blend of thrills and snark that made the original such a classic. Once you really get going with the story, this is a dutiful sequel with a good bit to like.
2. Beverly Hills Cop: Axel F
The long-gestating fourth installment in the series is a pretty big win, finding a nice blend between the breezy tone of the first installment and the kind of emotional heft that typically accompanies a legacy sequel. Adding in excellent actors like Taylour Paige, Joseph Gordon-Levitt, Kevin Bacon and Luis Guzmán never hurts, nor does Murphy slipping right back into his Detroit Lions garb and Foley charisma with complete and total ease. While the film parallels the original in pretty recognizable ways (like most legacy sequels do), there’s more than enough separation to help the wiser elements of aged characters settle. The fourth film is a rousing success compared to what came before it, even if you can tell that this is absolutely a movie designed for streaming. The star isn’t, however, and it’s really special that we got Murphy in his absolute silver screen star mode as Foley again.
1. Beverly Hills Cop
You can’t compete with the original. It’s the film that launched Murphy into absolute superstardom and the best collision of what makes this franchise work. Between the bananas in the tailpipe to all of Foley’s devastatingly funny alter egos, the original film stands tall for being one of the great comedies of the 1980s and a gripping cop drama on top of that. We’re always going to compare any future films in this series to the first, as it should be.
