REVIEW: ‘Beverly Hills Cop: Axel F’ Is A Terrific Action-Comedy

A fourth movie in the Beverly Hills Cop franchise has been in development since the mid-90s. Going through multiple directors- anyone from Brett Ratner to Bad Boys: Ride or Die filmmakers Adil El Arbi and Bilall Fallah were signed on at one point- and getting scrapped and reworked multiple times, it’s surreal that Beverly Hills Cop: Axel F is now out on Netflix. That’s all thanks to Eddie Murphy, who has held on to hope that the project would one day be realized. He was right to keep pursuing the dream because Beverly Hills Cop: Axel F is one hell of a romp.

Axel Foley (Eddie Murphy) is content as a police lieutenant in his hometown of Detroit. His idyllic slice of police life hits a snag when he hears from his old friend in Beverly Hills, Billy Rosewood (Judge Reinhold), that his estranged daughter Jane Saunders (Taylour Paige) is in trouble. A criminal defense attorney, Jane’s insistence on her accused cop-killer client’s innocence has made her a target. Together, Axel and Jane will need to team up and uncover a conspiracy of police corruption. Their investigation brings them into contact with familiar faces like Chief John Taggart (John Ashton) and the eccentric Serge (Bronson Pinchot), as well as Jane’s old flame/Beverly Hills PD detective Bobby Abbott (Joseph Gordon Levitt).

There’s a distinctly retro vibe to Beverly Hills Cop: Axel F. An opening scene that goes from a Detroit hockey game to a big street chase involving a giant truck and ATVs, with “The Heat is On” by Glenn Frey blasting over the proceedings, feels ripped right out of an ’80s movie. The carefree spectacle slips the audience right back into the world of Beverly Hills Cop. Rather than a reverent legacy sequel that makes a meal out of teasing out familiar elements for maximum nostalgia, Beverly Hills Cop: Axel F is a true Beverly Hills Cop 4.

All the relevant supporting cast from the previous films get something to do here. Even Paul Reiser, who hasn’t been in the franchise since Beverly Hills Cop II, gets to show up for a bit. The classic “Axel F” theme tune by Harold Faltermeyer gets a gratuitous use throughout, as does “Neutron Dance” by the Pointer Sisters. It’s really Eddie Murphy, though, that makes Beverly Hills Cop: Axel F feel like no time has passed. His Axel Foley still employs his unorthodox method of police work. Murphy sells it better than ever. He maneuvers his way through any situation, smoothly blending into his surroundings and getting the job done by lying, sneaking, and turning on the old Foley charms.

Eddie Murphy hasn’t been this sharp in a very long time. It’s apparent that he really, really cares about this project. First-time feature filmmaker Mark Molloy may be the one behind the camera, working off a script by Will Beall, Tom Gormican, and Kevin Etten, but this is Eddie Murphy’s show through and through. He can spout off one-liners like he’s been doing it his whole life. Furthermore, it’s a treat to see Murphy play a rough around the edges, foul-mouthed character like this again. Few actors are as naturally funny as Eddie Murphy when he really commits. His commitment extends to his chemistry with other cast members.

The relationship between Axel and his daughter, Jane, works better than expected due to Taylour Paige’s cold determination to do what’s right. It provides a great thematic angle, where Axel teases out a more adventurous side of Jane, and Jane instills a sense of duty in Axel. Joseph Gordon Levitt makes for a fun third wheel, the naive “good cop” who gets swept up along for the ride. In an antagonistic role, Kevin Bacon lays on the smarm, making a great showing in July 2024 as over-the-top characters in genre throwbacks (here’s looking at you, MaXXXine).

The story for Beverly Hills Cop: Axel F is mostly formulaic fare. The criminal conspiracy doesn’t go much of anywhere, hitting the requisite beats without subverting them. There’s a comfort in that, as it gives Eddie Murphy the space to riff and doesn’t try to reinvent the wheel. However, Beverly Hills Cop: Axel F teases that it might take police corruption to task, which doesn’t really manifest in any meaningful way in-film.

Action sequences in Beverly Hills Cop: Axel F are similarly a let-down. Credit to Mark Molloy and cinematographer Edu Grau for committing to making Beverly Hills Cop: Axel F look like a real blockbuster. No washed-out, flat visuals here- this is a vibrant, sun-drenched movie. Most of the car chases and various action sequences have a practical quality to them that is much appreciated. That hardly matters, sadly, when the action is so poorly staged. There’s no flair to it, no big flashy shots or punctuations to the action beats. The action just sort of… happens. It’s a method to get from point A to point B, much like the story.

Nonetheless, Beverly Hills Cop: Axel F feels like a night out with old friends. We all might be a little older and a bit creakier, and some things might not work like they used to, in this case, exciting action and an intriguing narrative. Yet, when you’ve got a buddy like Eddie Murphy leading the charge, you’re bound to have a good time. Beverly Hills Cop: Axel F is a terrific action-comedy, a welcome return for a comedy icon with all the charisma and laughs you’d want from this sort of film.

Beverly Hills Cop: Axel F is now streaming on Netflix.