Eddie Murphy plays a detective with a speciality of finding lost children. He is told he is the 'Chosen one' who will find and protect the Golden Child, a Bhuddist mystic who was kidnapped by an evil sorcerer. Murphy disbelieves the mysticism but finds more and more evidence of demon worship as he investigates.
Golden Child, The Eddie Murphy's fifth feature film, in which he plays a guy who specialises in finding lost children and is told to protect the titular kid after being declared the 'Chosen One'
After blazing his way across stages and TV screens as a stand-up, Eddie Murphy's larger-than-life persona made it to the big screen with 1982's 48 HRS. He followed this hit up with two more hits - Trading Places then 1984's mega-smash Beverley Hills Cop.
The flame fizzled slightly after this: aside from his "Strategic Guest Star" appearance in the Dudley Moore flop Best Defense, 1986's The Golden Child didn't g...
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Eddie Murphy followed up his Beverly Hills Cop success with this fantasy adventure that plops him right into the land of Ray Harryhausen and Indiana Jones. The plot revolves around a God-like youngster (J.L. Reate) known as a 'golden child,' who has been sent to Tibet to bring the gift of compassion to humanity. But the devil isn't idle, sending his emissary, Sardo Numspa (Charles Dance) to kidnap the golden child. Sardo absconds with the child and takes off to Los Angeles. In L.A., a beautiful Tibetan priestess named Kee Nang (Charlotte Lewis) seeks out Chandler Jarrell (Eddie Murphy), a social worker and self-styled 'finder of lost children.' She tells Chandler he has...
Golden Child, The
At this stage in his career, Eddie Murphy was certainly the golden boy of Hollywood with hits such as Beverly Hills Cop and 48 HRS under his belt. However, not even he could save this horribly misconceived comedy adventure, in which he is cast rather improbably as a social worker who is asked to track down a Tibetan youngster (the "Golden Child") who holds the key to the world's survival. Murphy's quick-fire quips fall flat and Michael Ritchie's direction is best described as indifferent, while Charles Dance hams it up as the baddie of the piece.
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