On the big screen, and particularly in the close-ups, it's not hard to see why Murphy's the current box office champ. He may have an adult's vocabulary, but he's still got a kid's frenetic energy and a wildly elastic face that demands both laughter and attention. His material, which trades on racial and sexual stereotypes even as it skewers them, may be offensive to some, but for others he remains a hell of a good yuck.

Watching his deft, effortless character work chafe against the outermost boundaries of the stand-up format, you sense the transgressive energy of Richard Pryor filtered through leading-man charisma — albeit tinged with hostile paranoia.

This feature-length concert film is hilarious, putting Mr. Murphy on a par with Mr. Pryor at his best.

Murphy raw is better than the well-done ego served up in Beverly Hills Cop II. But he's become a brilliant wise guy, unlike his hero Richard Pryor, who can turn profanity into poetry and hipness into humanity. [11 Jan 1988, p.57]

Murphy's brand of crude is studied and sleek, all high-polish and sheer calculation. As a performer, he's stylishly smooth; as a comic, that very smoothness is both his greatest strength and his abiding weakness. [22 Dec 1987]