Would have been a good third movie in the franchise. Beverly Hills Cop III should never have existed, a subtle joke that’s made in the dialogue of this film.
There are moments that capture the spunk, charm, and vibe of the original ’80s classics. You can see Eddie Murphy authentically invested in the story at times, whether it’s with his sharp profanity or a risky race joke. But then there are moments moments where Murphy pulls faces while driving or wears a self-aware smirk that breaks character and pulls us out of the story. The outrageous reckless action up front feels like a studio requirement. And there are too many close-ups. The trend of overdone close-ups has crept in since the ’80s, and keeping the camera pulled back a bit would have been a subtle move to maintain the authenticity of the earlier films.
Getting the old cast back together is nice when they are true to character, but that isn’t very often. Age shows, and in most scenes, delivering lines looks like a real effort. The performances often feel forced and awkward. Ashton is cartoonish, Reiser seems spaced out, and Pinchot’s Serge is disappointingly unfunny. But some fresh faces some fresh faces stand out. Paige stays in her lane and avoids scene-stealing, while Gordon-Levitt is surprisingly effective in a supporting role. Kevin Bacon makes for a solid mastermind, and Nasim Pedrad steals the scene as the flaky realtor.
Where the film truly shines is in its score. Lorne Balfe does a fantastic job paying homage to the powerful Harold Faltermeyer score from Beverly Hills Cop II, extending the original stings and themes in a compelling way. Even the Lil Nas X song fits nicely. Another stylistic nod to Beverly Hills Cop II is the use of graduated filters for many of the external shots.
Interesting that no opinion or even mention of Jane’s mom is made.
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