Watching these belated sequels, like the initial Beverly Hills Cop that aired 40 years ago, is similar to being present at an average Irish wake. You get to find out who’s still alive, observe how some have aged well, while being taken aback by how skeletal others look. Here is Paul Reiser, with silvery hair, looking fairly healthy, portraying Axel Foley’s former Detroit associate. Judge Reinhold retains his quirky, pronounced smile. “Sporting a Guns N’ Roses shirt, are we Judge? They weren’t even in the picture during the first run. Oh, how they are the newbies. And what a pity about dear old… Passed away too soon, didn’t he? Where are those sausage rolls?
Then we have Eddie Murphy. His face is a bit more filled out than before. He can’t evade an accelerating helicopter with the same comedic prowess as before. However, his exceptional comedic timing and knack for astounded sarcasm remain intact. He still manages to maintain a level of respectability, even when involved in productions worse than this one.
A potential reason for the considerable gap between Beverly Hills Cop III and this sequel appears roughly at the midpoint. LA investigators are going through Foley’s previous encounters in their lavish city. Here he is in 1984. And there he is again in 1987. “Ninety-four? Definitely not your best period,” they comment, shaking their heads.
Indeed, that chapter directed by John Landis was by far the most underwhelming of the first three instalments. However, the creators of the latest iteration can be somewhat consoled by the fact that Cop III still holds the dubious honour of being the weakest instalment in what is now a four-part series. Only those with no discerning taste would give a second thought to the trivial crime storyline – a trifling matter of a lost memory card – or be even slightly taken aback to learn the identity of the newfound cast member playing a villainous genius.
The project bears that dull, half-hearted quality that characterizes much of Netflix’s production. However, the combination of Murphy and two younger stars offer an enjoyable camaraderie, lending a pleasant, if sometimes comically misdirected, attempt to blend an 80s vibe with modern-day California.
Certainly, let’s discuss that narrative. Axel Foley, the essential character from Detroit, has experienced a strained relationship with his daughter, a practising lawyer named Jane Saunders, played by Taylour Paige. As a result of a scheme involving criminals and dodgy law enforcement on the west coast, this unapologetically irreverent hero is called back to the more affluent areas of Los Angeles for assistance. A conversation about his choice of celibacy seems misplaced, Jane dryly responds to Axel’s self-important declaration. Along their journey, they form an alliance with Detective Bobby Abbott (portrayed by Joseph Gordon-Levitt) aiming to take down the paradigmatic rogue cop, Cade Grant, whose character is played by Kevin Bacon.
Let’s be clear, if you’re newly introduced to the franchise, it would not be immediately obvious watching the interactions between Murphy, Paige, and Gordon-Levitt on Rodeo Drive, that this is the latest instalment of a highly successful comedic series. Each performer exceeds what their respective roles warrant. Paige, previously excelling in Janicza Bravo’s ‘Zola’, maintains a constant annoyance without provoking annoyance herself. Gordon-Levitt masters a convincing rugged demeanour, while Murphy gives us a taste, although subdued, of the hilarity that once led to peals of laughter during his heyday.
Granted, one can’t help but acknowledge that the existing project, under the direction of up-and-coming Mark Molloy, seems out of time and belongs to a past era. The glossy cinematography by Eduard Grau seems to be in sync with Tony Scott’s second instalment. The comedy is not quite as witty. The uplifting sound of synth-pop that serves as a backdrop to the action scenes feels as knowingly outdated as did the Scott Joplin rags in ‘The Sting’. It provokes a thought, the 1973 film was as far from the Great Depression as we currently are from the initial ‘Beverly Hills Cop’.
Does it stir your thoughts? Not in the most positive way. Just like contemplating an Irish wake.
Look out for the ‘Beverly Hills Cop: Axel F’ review, streaming on Netflix from the 3rd of July.