Beverly Hills Cop - Axel F

A Piece Of The Axel

Beverly Hills Cop - Axel F
aka Beverly Hills Cop 4
Directed by Mark Molloy
USA 2024

Warning: Slight spoilers.

Axel Foley is back... finally. Played once more by Eddie Murphy, this movie completely ignores the pilot film for the proposed TV show and puts Axel F back on the streets as opposed to running the station, his TV son now swapped out for an estranged movie daughter (which, aside from the huge continuity errors made by conflicting events in the pilot movie, also screws up the third movie, where he had no children but the daughter is therefore a couple of years older than she should be here... if audiences can spot these things, why can’t the actual writers?).

The plot set up on Beverly Hills Cop - Axel F is simple but good fun. Billy Rosewood, played again by Judge Reinhold, is out on a case which will clear a suspect in jail from being a cop killer. But he gets too close and is kidnapped and held by ‘the bad guys’ to try and get the evidence they know he has on them. But not before he has engaged Axel’s daughter, played by Taylour Paige, to clear the suspect of the charges (she is a lawyer) and also not before he calls in Axel, because he’s worried for her safety after she is almost killed and threatened to drop the case (something he knows she won’t do).

Other series regulars include Paul Reiser who has now taken over from the former chief back in Axel’s regular stomping ground, John Ashton as Taggart, Billy’s ex-partner who is now running the precinct in Beverly Hills and a, not exactly surprising but welcome return of Serge in a scene, played once again by Bronson Pinchot. Also new to the cast, asides from Taylour Paige, is Joseph Gordon-Levitt as another cop in Billy’s precinct (who also has a dating history with Axel’s daughter), Luis Guzmán  as a criminal kingpin and Kevin Bacon as an FBI man who, you just know is going to turn out to be the villain of the piece as soon as his first scene hits.

And it’s a great little movie, it has to be said... harkening right back to the origins of the character (as released, not the Stallone version) with Eddie Murphy playing it relatively straight (asides from his usual wise cracks) and with an equal emphasis on action, rather than just comedy (just like in the original, when you actually cared about the characters somewhat.... which follows through here). It might seem a little slow at times to a younger audience expecting just endless carnage but it’s a nice little homage to the original and it pretty much hits all the right beats. You also get a snow plough chase and a helicopter chase thrown in for good measure.

One of the nicest things for me, though, was the music. Not just the brilliant score but also the use of songs. At least three of the songs were used front and centre in the first movie and, here, they’re used in a similar fashion. In fact, the first song of the movie is Glenn Frey doing The Heat Is On and it really brought back memories of me sitting in a cinema in the early 1980s with a dear, now departed friend. 

Similarly, the underscore is absolutely spot on. This time around they’ve got a modern composer who I quite like, Lorne Balfe... but he uses all of the old Harold Faltermeyer themes (such as Axel F, Shoot Out etc) and he orchestrates the synthesiser work, to my ears at least, exactly as Faltermeyer did in the first two movies. It’s absolutely brilliant.

So, yeah, a short review and my only problem with the movie is that it was funded by an evil ‘cinema killing’ company who have hogged it for their own channel rather than get the cinema release it deserves. I’m guessing this means I won’t be able to buy a copy on Blu Ray either, which is a problem for me (not an ‘official’ Blu Ray but there may be other options). At least a CD soundtrack is coming though, I believe (although I’d also like a CD for the third movie too, please). So, yeah, I’d almost rather the movie never got made than be financed and distributed by said evil corporation but, as it is, Beverly Hills Cop - Axel F is an absolutely wonderful and entertaining sequel and doesn’t let the original movies down in any way. Worth checking out, if only to remind yourself that Eddie Murphy can do some pretty good acting when he puts his mind to it. Just waiting to see if they do a Yet Another 48 Hours next.

MaXXXine

XXX Factor

MaXXXine
Directed by Ti West
USA/UK/New Zealand 2024
A24
UK cinema cut.

Warning: Slight spoilers.

MaXXXine is the third and presumably final part of Ti West and Mia Goth’s successful X Trilogy, which started with the incredible X, reviewed here (where Goth took on the role of both Maxine Minx and Pearl) and continued with the prequel, Pearl, reviewed here (where she just played the title character). Once again, Goth (also on board as a producer, although she’s not one of the credited writers this time around) plays the part of Maxine and this is set some years after X, during the 1980s, with Maxine Minx now a hugely successful porn star, looking to make the crossover to acting in real, Hollywood movies.

After some footage of Maxine as a kid, which is purely there to establish something during the third act denouement, we start this film once again with a big door being opened... but this time it’s not the barn door from Pearl’s farm but a similar looking door on a studio set in Hollywood, where we see Maxine auditioning for a role in a sequel to a low budget horror movie, The Puritan, to be directed by the same director of the first, Elizabeth Bender (played by Elizabeth Debicki). However, although she’s successful in getting the part and, hopefully, cracking Hollywood, it looks like her past, as the final girl survivor and self defence murderer from the events depicted in X, is also about to catch up with her, in the form of someone who certainly wants to grab her attention and who does so through murdering her friends and securing the services of sleazy, private detective John Labat, played by Kevin Bacon.

Yeah, that’s a thing here, by the way... while the first two films felt like independent movies (which they kind of were, in a way), MaXXXine feels like it has a lot of famous actors in it, not least of all the two, central cops portrayed by the always watchable Bobby Cannavale and the equally brilliant, as she always is, Michelle Monaghan. Honestly, as good as Mia Goth is here (and, she really is, as you’d expect), the two cops are the reals stars of the film as far as I’m concerned. They don’t get too much screen time but I would like to have seen more of their characters, it has to be said.

Anyway, the first main question that comes up is, does this all have something to do with the real life serial killer known as The Night Stalker who was terrorising Hollywoodland at the time... or is someone using those murders as cover for their own. Either way, Maxine needs to find out so she can concentrate on being the standout star of The Puritan 2... and she does so in her own, ruthless manner.

Now there’s a lot of good stuff here, not least of which is the use of sets and references from other films, such as the old Universal Bates Motel and house from Psycho. In fact, there’s a moment in the film where Kevin Bacon’s character has chased Maxine into the Bates house and, for a minute there, I thought we were going to get a blow by blow replay of Arbogast’s death scene in the original Psycho (as it happens, Kevin Bacon’s death, when it comes, is far nastier).

So, all the actors are fine, the direction, shot design and editing is... all good. That being said, I’d have to say that this is the least satisfying of the X Trilogy. It just doesn’t seem as clever, maybe wastes an opportunity about exploring the title character’s lineage (because I may have misunderstood the point of the dual role in the first movie, as it turns out) and, though I was kind of expecting it to have a double ending at one point, it didn’t do it in the way I was expecting it to and, while that’s normally a positive experience for me (I want a movie to surprise me), I kinda thought the ending we did get just felt a bit off and, well, a bit hum drum. It also felt like the dual ending could have been a ‘flip a coin’ decision, in terms of where it leaves the characters for the last sequence.

The other big sin the film commits is that it doesn’t really make good on the XXX factor in the title. X was about a bunch of people going to shoot a porn movie (and just hiring the wrong location) and the boldness of the nudity and positive sexuality represented throughout the film was a breath of fresh air for modern movie making. Pearl skipped a lot of that but made up for it by the way it was shot and the call backs to old movies (although, it kinda felt the technical  call backs were an anachronism to a later time than being represented in that one). This one has pretty much no sex and the nudity is poorly lit or just not on screen. And yes, I was disappointed by that missing element. If a film is called Star Wars, for example, I want to see people having battles among the stars. If it’s a title referencing a term for hardcore, pornographic films, as this one is, then I’d expect to see some of that better represented here... especially when the character of the main protagonist is a world famous porn star.

All said and done though, I still quite liked MaXXXine and, while it wasn’t the ending of the trilogy I’d hoped for... it at least, kinda wraps things up and so, I can forgive it if the hyperbole of the marketing machine is selling the product as something it’s not, to be honest. My least favourite of the series but I’m still hoping they release a nice, X Trilogy box set on Blu Ray at some point soon (I deliberately didn’t buy the first two because I’m assuming/hoping a box set will be released in the near future).

Guardians Of The Galaxy Holiday Special 2022

Christmas Bacon

Guardians Of The
Galaxy Holiday Special 2022
Directed by James Gunn
2022

A quick note... I’m writing this very brief review in  the last days of Christmas 2022 and so it’s probably bad timing to put this one up before 2023. I’m going to pre-empt myself here and say that, by the time this review is published in December 2023, I will have already seen and reviewed Guardians Of The Galaxy Volume 3 for the site (right here). Therefore, any character arcs and terminations (which I suspect will be the case) are not yet known to me as I’m writing these words... so please read this in that context since, I’m sure some of the things in this might seem a little contradictory by the time this review sees the light of day.

Okay, so we have a specific Marvel Christmas special this year (as opposed to a Christmas TV miniseries such as Hawkeye... reviewed here). I have to say that I’m the only member of my household who actually thought this was any good and the only one who stuck with it properly until the end (even though it’s only 41 minutes long). There are a few bad things about it and also some good stuff. And this is going to be a fairly short review so, let’s look at the good stuff first.

Okay, so we have the film starting on a flashback sequence done in a late 1970s/early 1980s variant of rotoscoping animation, telling of how Yondu (played by Michael Rooker) ruined Peter Quill’s Christmas. So, yeah, the start looks deliberately cheap. Quill, aka Starlord, is once again played by Chris Pratt and he’s joined by series regulars Vin Diesel as Groot, David Bautista as Drax, Karen Gillan as Nebula, Bradley Cooper as Rocket Racoon, Pom Klementieff as Mantis and Sean Gunn as Kraglin. Once Mantis and Drax are told this story, it switches into live action and the two pledge to bring Christmas back into Starlord’s life... by travelling to Earth and kidnapping Peter’s longstanding childhood hero in the GOTG series of films... Kevin Bacon, in order to present him to Peter as a christmas present. Comedy shenanigans ensue and Bacon eventually finds himself hanging out with the Guardians on their newly acquired base on Knowwhere (following on from Avengers Endgame).

There are some nice jokes, some songs (mostly terrible, although I liked the first one... nobody else in the house did), some tiny comic action sequences and... a bit of sentiment here and there. It’s pleasant and mostly harmless fun and, yeah, I guess for me that’s fine but I think others in the household wanted a lot more from it.

There’s some bad stuff too, though... but the one thing I will bring up in that context is Groot. I mean... what? What happened to the CGI stuff? Did they use it or not because, frankly, if looks like someone wearing a bad Groot costume for most of the time. It just looks cheap and horrible and I can’t help but think that maybe more extensive use of CGI effects might have been planned but either money or, perhaps more likely, time... was not on the side of the crew here? Yeah, I don’t know why but it just felt wrong. I’m hoping this is not the same kind of effect/look they’re going to be going for in Guardians Of The Galaxy Vol 3 when it comes out... but if it is, you’ll certainly already know that by the time this review sees the light of day on this blog.

Countering that though, Mantis seemed a little less subdued as a character and given much more to do, asides from being revealed to Peter as being his half sister. She was great in this. I could have done with seeing a lot more of Nebula and Rocket though, truth be told.

And, yeah, that’s me done with Guardians Of The Galaxy Holiday Special 2022... it was basically fine but, certainly in my household, I was in the minority. Most people here seemed to think it was pretty rubbish so, whatever, I certainly think it was by far the best of the stand alone Guardians Of The Galaxy adventures though*... which, to be fair, isn’t saying much but, no, again, it’s basically fine.

*Guardians Of The Galaxy Vol 3 is better than all of them by a long chalk, it turned out.

The Darkness

Five Little Indians

The Darkness
2016 USA Directed by Greg McLean
UK cinema release print.

Okay. Yeah... kinda liked this one.

The Darkness is one of those entertainments that you can add to the recent list of horror films which are not absolutely great movies or classics of the genre but, at the same time, are skilled enough with the clichés and shorthand of their archetype to be able to deliver an enjoyable and competent addition to the list of similar films being made. Where The Darkness really wins some respect from me is with the addition of the Native American demons and their hostile attempt to return from the dimension that they were trapped in many years ago by their own people. Don’t quite remember that kind of mythology being tapped before (although I’m sure somebody must have already covered it at some point).

The film starts off with Peter and Bonny, played as well as you would expect by Kevin Bacon and Radha Mitchell, and their two children, on a vacation with their friends near the Grand Canyon. The youngest of the two, the boy, is autistic and, when he’s left alone for a minute by his sister who’s supposed to be watching him, he falls through into a cavern and finds five pebbles inscribed with icons and which he removes from their specific, ritualistic place in the cave, taking them home in his ruck sack. This, of course, opens the household up to various ‘haunting’ phenomena, which the boy is usually blamed for, as this has allowed the all powerful demons something to anchor themselves onto, so they can begin to free themselves from the confines of their prison. Of course, because the boy Michael (played by Gotham’s young Bruce Wayne, David Mazouz), is autistic, he can see what ‘the sky people’ are doing and even tries to help them for most of the picture.

It’s nothing particularly special as a movie, for sure, but it does have that mythological edge to it in the Indian legend. In terms of the story and the eventual ‘final solution’ of the movie, it does at least stick with the rules and back story it sets up for itself... something which some horror movies seem to have trouble doing, these days, for some reason. So I was pretty glad when we had some follow through on this stuff beyond the point of... this is how the spooky, sinister force came to be here and now we’re just going to do our own thing with it, without referring to the origins again.

The film is fairly well shot and, though it doesn’t exactly go nuts on the intensity of the scares along the way, it does get quite suspenseful at some points in the movie. The use of black dirt handprints as a signature that a ghostly and demonic presence is at work is used quite well a lot of the time and these are used to build tension throughout as they are manifested in various places, including being imprinted on a couple of the characters themselves, when they face their supernatural opposition.

The performances in this are all pretty good, too. Bacon is always cool, as is Radha Mitchell... who really needs to get more lead roles. David Mazouz is very good as the autistic son and his character’s sister, Stephanie, played by Lucy Fry, also does well at portraying an angry and troubled teenager. It was nice seeing Paul Reiser back on the big screen, playing an even bigger and annoying idiot than he did in ALIENS but it was the character of his wife who I really sat up and took note of. She’s not in it that much but it was nice seeing the beautiful Ming-Na Wen, aka Agent May from Marvel’s Agents Of SHIELD on the big screen. We need more of her in Hollywoodland too, me thinks.

So not much more to say about this one except we have another nice touch in the fact that the person (or people) who the family go to in order to fight back against their supernatural threat are actually of some help in this case (as those kinds of ‘Van Helsing’ figures were in the Insidious series too, I guess)... although, at the end of the day, any salvation in the final act comes from a different avenue. In fact that, for me, was the one weak point of the film... in the last ten minutes I was at a place where I started thinking... “Oh, really. They’re going to do that, now?” However, it does at least fit in with the stuff we know about the antagonist demons from their back story so, I wasn’t too upset by the place the ending went to. Although, it did feel a little anti-climactic, if truth be told.

And that’s about all I’ve got to say on this one. The score by Johnny Klimek was pretty good and perhaps just a little more subtle and less ‘stinger led’ than a lot of modern horrors have been. I’d probably buy the score if it was available but... so far, there seems to be nothing released on CD for this one. Maybe we’ll get something released later, though, if the film does well enough at the box office?

So there you have it. A pretty short review and, for some reason, I don’t have much to say about this one. If you’re into horror movies then you probably won’t be blown away by The Darkness but it’s certainly well put together and good enough to go on your ‘to watch’ list, I would have thought. If you’re not that used to horror movies then this will probably scare you enough into watching some more of them... or avoiding them. Not sure which but it is fairly effective in certain sequences, at any rate. Not one I’d go out of my way for but certainly worth spending a little time with, I think. So maybe give this one a go.

R.I.P.D - Rest In Peace Department

Brown Breadquarters

R.I.P.D - Rest In Peace Department
2013 USA
Directed by Robert Schwentke
Playing at UK cinemas now.

Warning: There are some slight spoilers about the basic set up of 
the plot here, most of which are already detailed in the trailer anyway.

R.I.P.D is one of those simple concept pitch films which comes up every now and again and, for all intents and purposes, the trailer is not really far from the truth of the movie. With apologies to Mark Kermode and his recent comments on summing up a movie in a few words, the trailer was pretty much "Men In Black does Ghostbusters". And that’s not a million miles away from the truth, in actual fact. Maybe a bit less Ghostbusters and more Men In Black sequel in tone perhaps but... well you’ll get the idea.

The plot involves young cop Nick (played by Ryan Reynolds) who is killed by his partner Hayes, played by Kevin Bacon. Instead of rising up to the pearly gates to face his "Judgement Day", he is instead whisked sideways and joins up with the R.I.P.D... that’s Rest In Peace Department to you. Here he is partnered up with the always watchable Jeff Bridges playing a 19th Century cowboy called Roy... although I think its fair to say that the character as Bridges plays him is less inspired by the name Roy and the connotations that has with the "All American Western" at a certain stage in its history and more informed by Bridges stint playing Rooster Cogburn in the Cohen Brothers version of True Grit. He does seem to be channeling that part a little, although he manages to make his pronunciation and delivery only just comprehensible at times, it has to be said. But it’s a fun performance and certainly entertaining when pitched against Reynolds fish out of water rookie in the R.I.P.D.

So, anyway, the job of the R.I.P.D is to track down all the escaped “dead ‘uns” who have fled to earth and bring them back for their final judgement. Thus endeth the plot and thus begineth the rooting, tooting and shooting. And there’s not much else involved, to be honest. It’s a very formulaic movie but there’s certainly nothing wrong with formulaic entertainment done right.

There are some very obvious clichés right from the outset though, it has to be said. You don’t put someone like Kevin Bacon into a picture like this, for example, playing a minor role so, even before the first ten minutes are up and he’s betrayed his true colours, you know that he’s going to be more involved in the plot later on. As it happens, a transgression Reynold’s character has made means he needs to make up with his fresh widow, who is under the spell of Bacon and it’s here that the film really does go exactly the way you think it’s going to go, I’m afraid. I’m not going to tell you want happens but I’ll be amazed if you can’t work out the little twists and turns before they occur.

That being said, it’s a nice bit of Men In Black style chemistry the film has going for it, without quite the same level of rich details and twists which that specific film series tends to bring to bat. You could, however, argue that it’s more streamlined with less deviations, entertaining or not, from the story line and, if you did, I’d be happy to defer to that judgement. The relationship between Bridges and Reynolds is strained and unforgiving a lot of the time, but that actually works in its favour. Do you really want to go through this whole movie where the two lead protagonists are acting all “nicey nicey” with each other?

On the whole, the performances are all excellent. I especially enjoyed Mary-Louise Parker’s Proctor character, and her relationship with Roy, but all the performances are as dead on, if you’ll excuse the inadvertent pun, as they need to be for a ‘popcorn fodder’ kind of movie like this one. And, as it happens, it’s supported by excellent special effects, supportive scoring, good solid direction and, helpfully, editing which won’t confuse you in the action sequences which, considering what happens during those sequences, seems to be to be a bit of a minor miracle right there. One thing I can’t tell you for sure though is whether it’s a good adaptation of the Dark Horse comic book it’s based on... I’m sorry, I just haven’t read it.

The film is predictable, as I said, but there are really two ways the ending, given its target audience, could have gone and you won’t know which of the two possible versions, involving Nick’s widow, they go with until right at the last knockings. That’s okay though, at least you’ll be guessing up until the last minute. As is expected in films of this nature, it’s easy to see where you could get a sequel from on this one and I certainly would like to see where the studios would go with this as I did find myself quite entertained through most of the running time. Alas, I don’t think it’s been at all successful financially and so it’s unlikely now that we’ll be seeing a sequel to this one anytime soon... unless it manages to pull an Austin Powers or The Transporter in terms of its DVD takings. Time will tell I guess... but I’m not expecting much from that revenue avenue.

However, fans of good time Hollywood blockbusters where you really don’t have to be thinking about anything while your watching should have a fair enough time with this one. Worth a watch before it leaves the cinema, I think.

Super

Panel Vision

Super US 2010

Directed by James Gunn

G2 Pictures Region 2

Warning: There’s a couple of superpowered

spoilers in here somewhere.

Hmmmm... how to review a film like Super.

Not too sure about where to begin on this one because, although it’s riding the wave of “real vigilante super heroes” movies in the wake of more prominent movies like Kick Ass... it’s also very different in both its intent and its tone.

The movie is of interest because, although the main protagonist Frank D’Arbo, played by Rainn Wilson, decides to “shut up crime” and becomes The Crimson Bolt... he does so without any real knowledge of, or emotional investment in, the four colour heroes that might be expected to have inspired him in the first place. This dysfunctional character, though, has suffered from strange visions all his life and after he loses his wife to a drug dealer... his motivation is to get her back. This is filtered by an overtly and humorously extreme Christian superhero on television (played by Nathan Fillion, no less) whose messages of over zealous purity strike a chord with Frank and soon he is down to the local comic shop and seeking “superhero origin” advice and research material from the owner, Libby (played by Ellen Page).

Libby does her best to point him to the right back issues and he returns, after his first failure at fighting crime, to check out non-super powered heroes and the weapons they use (Batman etc). He becomes The Crimson Bolt and his new weapon is a wrench with which he bops people over the head, usually leaving them half crippled or unconscious and covered in blood...

And here’s the thing...

Although the movie is very much played for laughs, it’s certainly a very black strand of humour and it’s also shot through with the hard question of whether masked vigilantes should be allowed to exist and what the consequences of using violence as a weapon against crime are. And, like the best movies of this kind, it certainly doesn’t pull any super powered punches in this department.

Things start to escalate (or should that be descend) rather quickly when Libby figures out the true identity of The Crimson Bolt and begs Frank to be his sidekick. She eventually wears him down but it’s obvious she is sexually attracted to Frank (who has no interest in this and has a very violent body reaction when she, kind of, rapes him in a fit of lust) and also much more interest with the violent side of the costumed shenanigans as a revenge against the unjust as opposed to attempting to tackle the issue in a more level headed manner. In her first outing as The Crimson Bolt’s sidekick “Boltie”, for instance, she nearly kills someone because she suspects he’s the guy who keyed her friends car. We’re way out of sight of “the punishment fits the crime” here people!

And that’s kinda the point.

Frank is certainly no better. Seriously hospitalising a man and woman because they pushed into a cinema queue instead of going to the back and when “Boltie” saves his life by driving into a man and crushing his legs against a wall with her car (laughing in his face gleefully after the act), he immediately forgives her and they become a team once more.

The violence is harsh, as is Frank’s bad moral judgement when he and Boltie go on their final mission together and he allows her to go with him. It’s then that he learns the responsibility and consequences of taking a teenage girl into the heat of battle with him... and in a way that he finds emotionally devastating, even as he rescues his wife (Liv Tyler) from the clutches of the evil drug dealer (Kevin Bacon) and his friends.

By the end of the movie Frank is pretty much in the same boat he was somewhere soon after the start of the movie... except he now has a pet rabbit and a lot of “proud memory moments” as symbolised by the amount of sketches he’s covered his wall with. He goes unpunished by the law (and seems to have recovered from the amount of bullet hits he took during the course of his short-lived career as The Crimson Bolt) but at the same time you kinda feel that, while he’s probably not learnt much, he has at least rescued and liberated and truly saved the person he most loved in the world (although I don’t want to give away too much about how their relationship continues after that... please watch the movie) and there is a certain sense of redemption by the last few moments of the movie, even if that redemption cost more lives than it was possibly worth.

Super is a film which asks us to consider issues. The film poses these kinds of questions about “at what point the self proclaimed good guy fighting for justice becomes far worse than the criminals he is trying to punish”, without trying to force feed us answers or buy into a certain morality. It’s job is just to ask these things and leave you something to ponder once the movie is done... not ram solutions down our throats. As such, I found Super to be a quite refreshing antidote to many of the bona-fide superhero movies which have played on our screens over the last ten years or so and would definitely point this one out, for the same kinds of audience who are attracted to that kind of product, to add to their viewing list. This one’s definitely worth a look.