The fourth Beverly Hills Cop installment has Eddie Murphy and plenty of nostalgia. It’s everything else that’s gone missing from the franchise.
“Beverly Hills Cop: Axel F” is the cinematic equivalent of trying on your prom suit from 1984. Maybe it still fits, but not in the places it used to, and if you try to moonwalk, you’ll probably get a hernia.
Still, if you’re that desperate for a reunion with the characters from the Eddie Murphy action comedy and its two sequels, this belated fourth entry, premiering this week on Netflix, may push your generic nostalgia buttons. In cast, soundtrack, dialogue and plot, “Axel F” is a photocopy of the original movies, only with everyone looking 40 years older. When they talk about films being “content,” this is what they mean: pure product. “Axel F” isn’t even bad.
franchise newcomers Will Beall, Tom Gormican and Kevin Etten plods along attending to the rift between father and daughter and to the conspiracy they’re uncovering, while the helming by Mark Molloy, a commercial director making his first feature, is focused mainly on the stunts and shootouts. “Axel F” makes sure to bring on all the old characters: Bronson Pinchot’s marble-mouthed Serge, John Ashton’s weary Taggart, a briefly seen Paul Reiser as the hero’s former Detroit PD partner. All the old hits, too; Glenn Frey , Bob Seger and the Pointer Sisters will be thankful for the residuals. But the only time the new movie feels like its joints haven’t ossified is in a few scenes with L.A.
or Affion Crockett as a country club valet who’s not falling for Axel’s shtick. The finale is the standard demolition derby, with the standard armory of bullets, a standard slow-motion “” sequence and the standard speech where the villain says to the hero: “You know, you and I? We’re more alike than you think.
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