John Kelly’s review published on Letterboxd:
Now we're living in the Golden Age of Content, I find myself looking at cinema listings and wondering "did this really need to be a film? Why did this get a cinema release?" For example, streaming has basically killed the mid-budget comedy. We'll probably never see another Adam Sandler comedy in cinemas again. But I'll also ask the question retroactively. If this film was being made today, could it draw a crowd to a cinema or would it be relegated to the lower depths of the Netflix interface? Sorry to pick on Adam Sandler, but he's a useful yardstick here. Why did, say, The Waterboy work as a cinematic experience, but You Don't Mess with the Zohan fail so terribly?
This is just a thought experiment. I don't think I have any answers, but I'd say for most cases, it's a matter of star power, if such a thing exists, and how it's applied. In the Adam Sandler case (Adam, I'm so, so sorry. I'm genuinely a big fan (apart from Murder Mystery which was absolute dogshit)), his star was rising (peaking?) for The Waterboy and was very much falling by the time Zohan rolled around.
So to bring this back on topic and to stop picking on Adam Sandler: Beverly Hills Cop is a great showcase for what a massive star Eddie Murphy was about to become, the film absolutely works as a cinematic release and if it was being made today, I would be first in line at the biggest screen I could find.