
A film like “Axel F” which is a sequel to the previous versions of the Beverly Hills Cop was expected to perform tremendously during the 4th of July w.e but as time has passed, this kind of attitude would only be possible a few decades ago. This leaves clearly the anticipation of the fans who have been looking forward to the fourth film of the Eddie Murphy series which was set to be released by Netflix rather than theaters. But this change did not come about all of the sudden as most sequel remakes brought forth low expectations. In fact, “Axel F” manages to exceed expectations and is almost practicing Murphy’s breakout role and the best of the new releases as times have changed. Alike other sequels which rely widely on nostalgia, this one feels different as the trend lately is breaking new ground.
With the changes and movement of the subgenre changing lately, it seems areas that had felt mundane are now quite entertaining. Although “Axel F” does not stand anywhere near “Top Gun: Maverick” or “Creed”, it seems to be promising and leaves personal expectations fulfilled. Fortunately, it has never been, nor will it ever be a bad time to release a film that co-stars Taylour Paige, Joseph Gordon-Levitt, and Kevin Bacon. The nostalgia moments do feel forced as well but like the movie trilogy, one cannot be disappointed with the story arc and journey that has defined so many great characters throughout the years.
There is, however, still enough here to do precisely what it is that Netflix wishes to do on this holiday weekend when many people would have otherwise flocked to a theater: keep them indoors.
“Axel F” starts like other films, the difference is it has Axel Foley played by Eddie Murphy establishing him as a thief in Detroit where he is in the midst of stopping a robbery during a Red Wings game which leads to an adventurous scene of him chasing the robbers through a snow-plow that gets destroyed along the way across Detroit city which is the first of many more sleek chase sequences in the film making one remember the lost art of chase scenes in this era of too much-computer-generated graphics driven films. It is revealed that Axel’s old-time partner in the DPD, Jeffrey Friedman played by Paul Reiser is the Chief of Police now but has filed for retirement. These events spark a range of discussions regarding aging law enforcement and the profession which normally does not look after its aging workhorses.
Axel himself is out of the game but he gets a call back to Beverly Hills when his combative daughter, Jane, played by Paige from the movie Zola, moves close to a case that concerns her with some dirty police officers which attempts on the young girl’s life. This goes without saying that familiar characters like Billy Rosewood played by Judge Reinhold and John Taggart played by John Ashton will also rejoin us. The former from the BHPD is drawn into being a private investigator due to the war with BHPD Chief Taggart which basically cost him his job on the police force.
Detective Bobby Abbott played by Joseph Gordon-Levitt and Captain Cade Grant, played by Kevin Bacon, get to step into this world for the first time. It should be noted that Abbott is Jane’s former spouse, therefore clearly standing on her side. As for Grant, he would be an easy character to hate even if he were just twirling a handlebar mustache.
From the jump, “Beverly Hills Cop: Axel F” displays a delightfulness that usually does not permit seeing legacy sequels while that was arguably lacking in the more drudging parts of this series’ second and third films. Murphy is his best when he is let loose to dash around a movie, all while chuckling and grinning in a way that is endearing to the audience. Even this score feels irreverent when Balfe infuses a few of the originals into the new version while pulling tracks from the incredible 1984 soundtrack.
Is that a rather low blow? Perhaps, but every case has its limits. As soon as Bronson Pinchot’s Serge pops up in a lousy moment, there comes the recollection of what this film could have been if it was all fill-ins and familiar faces. In fact, no more than the rest of the distasteful shots – avoid sight, sound, and paste. There is room for comments that sound unflattering but the variations of this series reboot are so many including the almost-started one by Brett Ratner, that last in line would be silly jabs at cancel culture or generational gaps or beats that have featured dominant force of comedy in recent scripted movies.
The plot is not so thick with intricate narration and unnecessary unnecessary subplots since this actually a sequel – albeit one that has skipped at least one entire generation – and that is a very welcomed thing.
Many of the supporting actors are realistic and willing to play along which helps quite a lot. Murphy has a spark when he is emulating actors who are acting off him such as Wesley Snipes and Da’Vine Joy Randolph in “Dolemite is My Name.” Paige and JGL do not reach that microhistorical density, but all of them clearly understood their roles here, not loafing about like so many supportive cast members in Netflix originals. Bacon hams up his cult-like villain, JGL keeps things real when the film is on the verge of vanishing into an over-deluded cinematic spectacle. Paige is good but the arguments with her disinterested dad are used over and over again which makes the viewers question the writing of the film. Moving on to the other protagonists, most of Reinhold’s scenes are cut but Ashton indeed knows how to put on a show when needed.
With regard to production, cinematographer Eduard Grau (”Passing”) pairs up with Molloy, a commercial veteran, who adds just the appropriate amount of Californian gloss to the film and gets as close to its intended look as possible without losing the aesthetic of Tony Scott from the first sequel. Dan Lebental is seasoned in cutting such summertime heist action-comedy legacy sequels, coming after his editing of “Bad Boys: Ride or Die” with a well-paced action summer sequel that knows how to turn on the action right. To the majority of the Netflix audience, it might seem disregarded, but the reality is there are a lot of original streaming films, let’s say the ones that you would term superficial (David Wingo’s Red Notice would be a principal example), that have vocation-look about them and that is never the case here.
Also, it is important to understand that the Fourth of July pictures have often signified fantasy, a break from our troubled minds for a couple of hours in an air-conditioned cinema hall. As the summer of 2024 approaches, the globe is becoming an increasingly fractious, volatile, and anxiety inducing place and, yet, there is something reassuring about a film that gets down to business and sees it through in the manner promised by the title’s grumpy cop.
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