As a movie buff with a deep appreciation for the classics, I can’t help but express my excitement over the new “Beverly Hills Cop: Axel F” movie. Forty years have passed since the original hit theaters, and it still holds up as a testament to Eddie Murphy’s undeniable charisma and comedic brilliance.
What’s a good way to create a fresh “Beverly Hills Cop” film in an engaging and clear manner? This has been a perplexing challenge for the movie industry for quite some time. Brett Ratner attempted to solve it for years, but based on his 2010 interview with Empire magazine, it seems uncertain how far he actually came. “So, where do we even begin?” he pondered.
As a film enthusiast, I pondered these questions when considering the potential return of the beloved “Beverly Hills Cop” series. Whereabouts is Axel now? Has he hung up his badge and retired? Or perhaps, he’s soaking up some sun in Beverly Hills? Maybe, just maybe, Judge Reinhold is set to reprise his role as Billy Rosewood once more.
Looking back, it feels unnecessary that things were made so intricate. As soon as the Don Simpson/Jerry Bruckheimer Films lightning bolt logo appears on Netflix’s “Beverly Hills Cop: Axel F” (available July 3), accompanied by the iconic sax riff of “The Heat Is On,” it becomes clear that everyone involved had a clear goal in mind. Essentially, they chose to produce a new “Beverly Hills Cop” movie by recreating the original one instead.
Forty years have passed since “Beverly Hills Cop” hit the big screens, a fact that might surprise or even shock those who watched it in theaters back then, and surely astound anyone discovering this now. At just 23 years old, Eddie Murphy brought this iconic film to life, shattering box office records with its release. I still remember the excitement as it reigned supreme for 13 consecutive weeks, selling a staggering 67 million tickets. When adjusted for inflation, it remains the highest-grossing R-rated movie ever made. Following his success on “Saturday Night Live,” and the releases of “48 Hrs.” and “Trading Places,” “Beverly Hills Cop” solidified Murphy’s status as a Hollywood star.
If you weren’t there back then, “Beverly Hills Cop: Axel F” is a skillfully crafted journey that transports you back to the era when synth pop dominated the radio waves. You could stop a car with a banana in its exhaust pipe, and a night at a luxurious Beverly Hills hotel cost just $235. (As we discover in “Axel F,” those prices have significantly increased.)
In order to create a “Beverly Hills Cop” film, follow this recipe: Begin in Detroit, where Axel grew up, investing significant resources and excitement in an action-packed sequence involving automobiles, trucks, and even a snow plow, if we’re talking about “Axel F.” Throughout this scene, Axel disregards police regulations. Once the chaos subsides, his exasperated superior delivers a stern warning: This time, Axel has crossed the line, and he must promise never to repeat such behavior again – this time, Paul Reiser delivers the reprimand.
Although the criticism doesn’t seem to affect Axel, as he often proves to be correct, even more so when others believe he’s incorrect. This aspect adds to his charm.
An unexpected situation arises which necessitates a journey to Los Angeles, more precisely Beverly Hills, depicted in “Axel F.” In this film, it’s a distressing phone call from Billy Rosewood (Judge Reinhold), who is endearing yet finds himself in jeopardy due to uncovering the truth about a police conspiracy. Moreover, Axel’s estranged daughter, Jane (Taylour Paige), is also at risk because of her role as a criminal lawyer, involved in this intricate web of deceit.
In “Axel,” I find myself establishing the stakes and then making my way to Beverly Hills. Once there, I cleverly talk my way out of various predicaments, crossing paths with Bronson Pinchot’s character, whose accent is rather excessive. I impart some knowledge about police work to the local authorities, and occasionally exhibit a subtle understanding of racial dynamics in America. When a police officer forbids me from producing my ID, I assure them, “I’ve been a cop for 30 years. I’ve lived being Black much longer. Trust me, I’m well-versed in the situation.”
In the end, there’s an intense confrontation where taking off sunglasses is essential before handling a submachine gun. More dancing ensues to Harold Faltermeyer’s famous synth-pop tune “Axel F.” It’s like a heartfelt reunion between Murphy, Reinhold, and John Ashton (back as Det. Taggart, Billy’s partner and grumpy friend). The credits then roll.
As a movie buff, I recall that the initial “Beverly Hills Cop” film received an Oscar nomination for its unique screenplay. But here’s something you might not know: During the filming, Eddie Murphy often improvised his lines to such an extent that his co-stars had trouble keeping a straight face! Perhaps the Academy recognized Murphy’s exceptional talent and gave him a nod as a result. Improvising like that takes real skill.
You also might not know that there was a third “Beverly Hills Cop” movie, the 1994 entry Murphy has called “garbage.” One of the best lines in “Axel F” comes when Joseph Gordon-Levitt, a newcomer to the franchise playing a Beverly Hills police detective, leafs through Axel’s file and says, “And then, ’94. Not your finest hour.” The first two movies, along with “Axel F,” are streaming on Netflix. The third is not.
Mark Molloy, the film’s director, proudly announces that he allowed Murphy ample creative freedom during the making of “Axel F.” (Co-written by Will Beall, Tom Gormican, and Kevin Etten, a notable line belongs to them: “It’s not your finest hour.”). Despite the change in tone from bold arrogance to wistful joy, Murphy delivers an impactful performance. The intensity has cooled down.
You were aware of that, though. Murphy happily plays his role, while the film explores Axel’s efforts to mend his relationship with his strong-willed daughter. It can be challenging to express emotions when they are overshadowed by constant gunfire.
As a movie enthusiast, I’d say that “Axel F” might seem like a mere money-making scheme at first glance. However, it’s obvious that Eddie Murphy deeply cares for the titular character. From the very beginning, Murphy’s depiction of Axel revolves around his unique ability to form heartfelt bonds with people he encounters. Even the antagonists have a soft spot for him. Driving through the streets of Detroit in his blue Chevy Nova during the opening credits, Axel elicits various reactions from the city’s denizens – some smiling and waving, others flipping him off. Regardless, they acknowledge his presence, and so do we as viewers.
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2024-07-18 18:27