“Super Detective in Hollywood: Axel F.” Review: More Nostalgia Than Entertainment

The first thing that surprises Hollywood Super Detective: Axel F. It’s the rhythm of it, very much like any other film in the saga it’s taken from. Which is odd, considering the Netflix film comes exactly thirty years after the first. But the production seems to ignore this small detail and prefers to copy a style that’s been outdated for years. That is: a full-action beginning, in order to enter into the plot conflict together with the work.

In the first few minutes, director Mark Molloy devotes himself to tapping into what made the franchise famous in the first place: the easy-going, sarcastic charm of Axel Foley, once again played by Eddie Murphy. In fact, the actor has the subtlety to infuse this new version of his famous character with a layer of amiable good nature. Now, enjoy the fun life in Detroit.like a model-looking cop and very far from his other Californian self.

But the screenplay by Will Beall, Tom Gormican and Kevin Etten doesn’t exploit the idea that its protagonist has been around for more than thirty years. In fact, if there’s anything missing from this unevenly paced film, which soon feels too slow for its tongue-in-cheek dialogue, it’s how little it considers where it came from. In fact, this late sequel feels It feels more like a reunion of friends (which in a sense it is) than a solid story.

Nostalgia is not enough
“Super Detective in Hollywood: Axel Axel F.”

So the spectacular explosions of the first film are kind of filler: they add little to the plot. That is, apart from the premise that will carry over into the rest of the story. Namely, that Alex Foley is back, and with a new mission. And with all his infectious energy, wordplay, and courage when necessary. But the plot struggles to elevate itself beyond that. The only thing that is truly new is that the boy from the first film is now a father. And, of course, this will be the reason for his return to golden Beverly Hills.

On this occasion, the film doesn’t beat around the bush or hide the fact that it’s a later sequel to a larger production. So Foley’s return to California involves the usual shots of shopping malls, beaches, and women in bikinis. Then it’s down to business: there’s a group of corrupt detectives who threaten not only his Jane (Taylor Paige) but soon the detective himself. But the plot is so serviceable and predictable that the film actually struggles to add anything to what feels like a series of formulaic scenes. Murphy tries very hard — and in fact, it’s, to no one’s surprise, the best thing about the film — and he makes his character shine amidst the crazy conversations and chases.

But that’s not enough, and it’s not because the film feels like a rushed production, with little respect for what made the originals interesting. In fact, the film moves from one place to another without adding much to the saga or the story it’s telling. There are hints – some genuinely funny ones – about Foley’s age (Murphy is 63), but these flashes of wit fall short.

The film’s depiction of the relationship between a police officer and his daughter is also very interesting; despite this, the script again misses an opportunity to develop interest. Instead, move on to the next explosion, a crashed helicopter, an overturned snowplow, or a car that exploded with surprising and disappointing speed.

A cheerful soundtrack, jokes between friends and nothing more.

If anything is different Hollywood Super Detective: Axel F.is that he takes the common threads that connect him to the saga and uses them to the extreme. So he spends a lot of time including all sorts of songs. for Foley to sing them or accompany him on his triumphant entrance.

There are also quick jokes in the style of early Hollywood detective films — one particularly hilarious one lovingly pokes fun at Wesley Snipes — and plenty of satire on privilege. And, of course, there is a hyper-realistic shootout that is easily the best part of the film. But these are all disjointed pieces, lacking much finesse or anything, separated by sequences of odd rhythm that go nowhere. Of course, nostalgia is a predominant element.

Reminiscing about the good times with William “Bill” Rosewood (Judge Reinhold), now a private detective, or Taggart (John Ashton), his partner who comes out of retirement for a ridiculous reason. In the final minutes, the recording makes something clear. Despite all the efforts, it’s a poor copy of a successful formula.What is most unfortunate about this strange hybrid of action and the desire to remember the golden age is that it does not work at all.