Beverly Hills Cop: Axel F – A Nice Return to Basics (Early Review)

The heat is…back, as the long anticipated fourth entry of the iconic Beverly Hills Cop franchise, titled Beverly Hills Cop: Axel F is finally upon us. Forty years ago, audiences were first introduced to Axel Foley in 1984’s Beverly Hills Cop. A film that originally was to star Sylvester Stallone as a gritty cop action film (which then became Cobra), it eventually ended up headlining then budding superstar Eddie Murphy, who at only 21-years-old, had already become hugely popular after his time on Saturday Night Live, 48 Hrs, Trading Places, and his standup special Delirious. By all accounts, a tumultuous production at the time, the script was a mess and director Martin Brest brought on as a last minute addition. However, Murphy’s sheer dynamite energy and improv’d comedic set pieces turned what had the makings of a a surefire flop into one of the most iconic films of the 1980s.

The story of street smart, Detroit cop Axel Foley as a fish out of water in Beverly Hills trying to solve the case of his friend’s murder took off big time and, after adjusted for inflation, still holds the record for highest grossing R rated film of all time domestically. Following the huge success of the original, 1987’s Beverly Hills Cop II, released at the peak of Murphy’s fame, it went on to become the 2nd biggest film of the year. This sequel, helmed by then Top Gun director Tony Scott, injects the franchise with a major dose of visual flair, turning the gritty and grounded vibe of the original into full blown MTV aesthetics that downplayed its comedy in favour of action and style. Finally, there’s 1994’s Beverly Hills Cop III, a sequel that replaces producers Don Simpson and Jerry Bruckheimer and much of the cast, resulting in a film lacking both the laughs of the original and the action and style of its first sequel. A truly terrible film, the critical and commercial flop status left the series in limbo for over 30 years. Now 30 years later, Beverly Hills Cop: Axel F, arrives with some apprehension. Seeing everyone return is one thing but the prospects of it repeating the same mistakes as Beverly Hills Cop III or any a late comedy sequel is another. Thankfully, Axel F is a welcome return to form for the franchise that while never reaching any of the series’ highs, serves as a fitting reunion and satisfying (potential) send off for these iconic characters.

Beverly Hills Cop: Axel F picks up in familiar fashion, with Axel (Murphy) driving along the streets of Detroit as Glenn Frey’s “The Heat is On” plays over the opening credits. After a car chase involving a snow plow and dozens of wrecked cars, Axel is immediately chewed out by former partner and current police chief, Jeffrey (Paul Reiser), who lambasts him for his reckless attitude and suggests he reconnect with his estranged daughter Jade (Paige) before it’s too late. Meanwhile, in Beverly Hills, Jade is a criminal lawyer defending an alleged cop killer who she believes is being framed by a group of dirty cops to cover up their tracks while working with Billy Rosewood (Judge Reinhold) to investigate the case. After Jade’s life is threatened by masked assailants who want her to drop the case, Billy calls up his old friend Axel for help as he’s worried Jade may be in too deep and way over her head and that he can’t protect her.

As a result, Axel returned to Beverly Hills one more time to solve the case, reconnect with his daughter and meet up with old fan favourites, like John Taggart (John Aston) and Serge (Bronson Pinchot) as well as new faces like Detective Bobby Abbott (Gordon-Levitt as a strong straight man to Axel’s antics). Beverly Hills Cop: Axel F, like recent Bruckheimer produced legacy sequels (Bad Boys: Ride or Die, Top Gun: Maverick), are less interested in re-inventing the wheel as they are bringing the franchises back to their roots, reminding audiences why they loved its characters to begin with updating them for modern times. Axel, this time around, is a bit more mature and certainly less of a firecracker as he was before but is still recognizably Axel when he needs to be, his fast talking BS schtick as he puts on airs to get information or access somewhere never gets old. The main plot of crooked cops and coverups is very boilerplate but the stories in these films were never the focus, as reflected by Axel F‘s fairly laid back, low-key pacing. Rather, these types of films have always been about characters and what situations they need to get themselves out of. To that effect, the chemistry between the old cast is as strong as it ever was. Watching them play off of one another is such a treat for longtime fans.

Directed by Mark Molloy, in his feature film directorial debut, Axel F has a nice slick sheen to it, creating a blend of Brest’s grittier texture with Scott’s more flashy style. In keeping with the retro delights, the action set pieces are decidedly old school and shot competently, with a clean steady camera. In the mid 80s, all audiences needed was a simple car chase and shootout, a big truck smashing dozens of cars and Axel F definitely delivers on that front. While it might come across as too low-key for modern audiences accustomed to bigger, flashier action scenes, the simplicity (and practicality) of the action was delightful, be it a helicopter on the fritz or a delivery truck smashing through the front of a mansion (and about a half dozen cop cars). Lorne Balfe does a great job, integrating the iconic Harold Faltermeyer themes, while also delivering a synth-y, sax heavy score that feels ripped out of 1984, not to mention, packing the film with needle drops of the most famous pop songs from the franchise’s first two films.

As a lifelong Beverly Hills Cop fan, the franchise’s latest entry, Axel F, is eminently enjoyable. While it doesn’t reinvent the wheel, it delivers a nice return to basics that sees Eddie Murphy having the most fun on screen he’s had in a long time, reminding audiences of that dynamo charisma that made him a legend for 40 years. If we never get another entry, fans can take solace with the fact that it found a way to at least end on a positive note.

still courtesy of Netflix

If you liked this, please read our other reviews here and don’t forget to follow us on Twitter or Instagram or like us on Facebook.

Alex Josevski

letterboxd.com/groovyalex391/