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film. Hello

1:27

everyone, and welcome to Slash Film Daily. Today is Wednesday,

1:29

July 3rd, 2024. On

1:31

today's episode of the show, we're going to be

1:33

talking about Beverly Hills cop Axle F, and we're

1:35

also going to rank the entire franchise and present

1:38

an interview with Axle F director Mark Malloy. My

1:40

name is Ben Pearson. I am an editor at

1:42

slash film dot com, and I'm joined on today's

1:44

episode by slash film editor Brad Ohman. Hey,

1:47

that's me. Brad, today is the day

1:49

that Beverly Hills cop Axle F, the fourth

1:51

film in this franchise, has arrived on Netflix.

1:53

As of right now, people can go and

1:56

watch this movie if they choose. You and

1:58

I have seen this film. Obviously,

2:00

I talked to the director. We'll present that interview in

2:02

just a little bit. But I guess before we get

2:05

into our thoughts about Axl F, what is your relationship

2:07

to this franchise as a whole? So

2:11

it actually kind of evolved more again

2:14

recently, because I had seen the original Beverly

2:16

Hills Cop when I was in college,

2:18

I think, for the first time. And I've seen

2:20

the first one a few times since then. Only

2:24

recently did I realize that I never got around

2:26

to watching two in

2:28

its entirety. I had seen some pretty

2:31

big chunks of it, but I guess I never

2:33

sat down to watch the whole thing. And

2:36

I never watched three because I heard that it was very

2:38

bad. But I recently did a rewatch of the

2:40

entire series, and so caught

2:42

up with all of that. So yeah, that's

2:45

pretty much where I stand. Okay, so we'll get

2:47

into our ranking after the break

2:49

in the back half of the show. But were you

2:51

looking forward to this, or were you kind of dreading

2:54

this movie? I

2:56

was more, I think, curious

2:59

than anything, because it's been so long

3:02

since they've done a Beverly Hills Cop movie. Eddie

3:05

Murphy's comedy chops haven't been as

3:07

strong in recent years. And

3:10

I was curious what this kind of franchise

3:13

would look like in today's

3:15

contemporary cinematic

3:18

landscape. So I thought

3:20

the trailer looked decent. It seemed like they were

3:22

hitting all the right points. It

3:26

felt just like a Beverly Hills Cop movie

3:28

should. So I was interested in checking it

3:30

out, and hopeful that it was gonna turn out to be good. Okay,

3:32

so let's get into some spoiler-free thoughts.

3:35

With that as the preamble, what did you make of the

3:37

actual movie itself? I think

3:39

it's pretty decent. I don't

3:42

think it comes

3:44

close to hitting the highs of the original

3:46

franchise. It's nowhere

3:48

near as bad as the worst entry

3:50

in the franchise, which I

3:52

won't give away here, even though you probably guessed what

3:55

it is, if you've been

3:57

following the franchise for a long time. But

3:59

yeah, I think- I think it's very enjoyable. I

4:03

wish it was a little bit funnier. More

4:05

and more these days, I'm noticing that

4:07

especially action comedies,

4:10

they're really lacking in like bringing in

4:13

really good jokes and like

4:16

laugh out loud stuff. Like

4:18

even with Bad Boys, Right or Die was the

4:20

most recent example where it just

4:22

feels like maybe, I don't know if they're not bringing

4:24

in comedians anymore to do punch ups

4:26

on scripts, if they're just relying on their life,

4:29

they're like, oh yeah, Will Smith and

4:31

Martin Lawrence and Eddie Murphy, they can handle the jokes.

4:33

And it's just like, no man, like you need to

4:35

get people who are like a professional comedians to come

4:37

in and like help write some of

4:39

this stuff because there's stuff that just falls flat. You

4:42

know, there's parts where like you could easily get

4:44

jokes in there and they didn't. And I just,

4:46

I wish that there was a little more comedy

4:49

here. But for the most part,

4:51

I thought it was, you know, fine. Yeah,

4:54

I also think this movie is fine. It's

4:56

much, much better than I thought it was gonna be.

5:00

So it has that going for it. I think

5:02

especially for like a July 4th, effectively a July

5:04

4th release where a lot of people are probably

5:06

gonna be home and have the day off tomorrow.

5:08

Like just, I imagine people kicking back and throwing

5:10

this on. It's gonna be a

5:12

really enjoyable experience for a lot of people, especially

5:14

people who have like fond memories of the first

5:16

two movies and maybe haven't really thought about this

5:18

franchise very much since then. I

5:21

totally agree with what you're saying about comedy stuff.

5:24

Like I, man, it's rough out

5:26

there for comedies these days. Like I know

5:28

that, you know, we've been talking about how

5:30

there aren't really many theatrical

5:32

comedies kind of

5:35

period in existence, right? You know, being made

5:37

anymore these days, but like the

5:39

stuff that does come through that is

5:41

clearly supposed to be funny, just,

5:44

I don't know, man, I don't know if it's like we're getting

5:46

older and so the stuff doesn't hit for us in the same

5:48

way. But I feel like, I feel like

5:50

there's an underlying thing going on, which is what

5:52

you're talking about. Like the craft of comedy. Like

5:54

maybe, I don't know if they're not bringing in

5:57

comedians anymore to do punch-ups on script.

6:00

if they're just relying on their life, they're like, oh yeah, Will

6:02

Smith and Martin Lawrence and Eddie Murphy, they can handle

6:04

the jokes. And it's just like, no, man, like you

6:06

need to get people who are like a professional comedian

6:09

to come in and like, help write

6:11

some of this stuff, because there's stuff that just falls

6:13

flat. You know, there's parts where like, you could easily

6:15

get jokes in there and they and they didn't. And

6:17

I just I wish that there was a little more

6:20

comedy here. But for the

6:23

most part, I thought it was, you know,

6:25

fine. Yeah, I also think this

6:27

movie is fine. It's much, much better than I

6:29

thought it was going to be. So it has

6:31

that going for it. I think especially for like

6:33

a July for effectively a July 4th release, where

6:36

a lot of people are probably going to be

6:38

home and have the day off tomorrow. Like just

6:40

I imagine people kicking back and throwing this on.

6:43

It's going to be a really enjoyable experience for

6:45

a lot of people, especially people who have like

6:47

fond memories of the first two movies and maybe

6:50

haven't really thought about this franchise very much since

6:52

then. I totally agree with

6:54

what you're saying about comedy stuff like

6:56

I, man, it's it's rough out

6:58

there for comedies these days. Like I know

7:00

that, you know, we've been talking about how

7:02

there aren't really many theatrical

7:04

comedies kind

7:06

of period in existence, right? You know, being

7:09

made anymore these days, but like, the

7:11

stuff that does come through that is

7:13

clearly supposed to be funny, just,

7:16

I don't know, man, I don't know if it's like, we're getting

7:18

older. And so this stuff doesn't hit for us in the same

7:20

way. But I feel like I feel like

7:22

there's an underlying thing going on, which is

7:24

what you're talking about, like the craft of

7:26

comedy is being lost in the process of

7:28

this a little bit. So I don't

7:31

know if there's anybody out here listening

7:33

who can actually have an

7:36

impact on that in a project moving forward,

7:38

like try as much as humanly

7:40

possible within your budget to go the extra

7:42

mile to to get the jokes where they

7:44

need to be. Because that's one of those

7:46

things that can really, really elevate a project.

7:48

But like you said, just kind of falls

7:50

flat a lot in not just

7:52

this movie, but in a lot of movies going for or, you

7:55

know, like, in our modern landscape these

7:57

days. So what

7:59

else did you want to I guess mentioned about this

8:01

movie before we get into some spoilery stuff. If

8:04

there's one thing that I think succeeds like in

8:06

a really big way that I loved, it

8:09

was the score for this movie. Lauren

8:12

Balfie, man, he crushed it. Like he

8:15

captured the feeling of like that 1980s synth

8:17

that everybody loves, but he also contemporized

8:20

it and made it made it feel cool

8:22

and modern, did some really cool riffs on

8:24

the theme, did some really cool synth riffs

8:26

on the songs that the franchise is famous

8:29

for other than the Axel Foley theme, which

8:31

I really enjoyed. That

8:33

was awesome. Like I would love to just like

8:35

sit and have this soundtrack on while I'm the

8:37

original, but it's fine. It's enjoyable. And

8:40

so yeah, he's I think he's finally reached a

8:42

point where like he realizes like he

8:44

doesn't need to do the big over-the-top stuff anymore

8:46

and Beverly Hills Cop was always a franchise where

8:50

he wasn't ever really

8:52

like being crazy with his comedy. You

8:54

know, he has moments where like he gets into character where

8:56

he has like a little outbursts, but he wasn't being ridiculous

8:59

or zany or anything like that. And he I

9:02

think that the the emotional core

9:04

of this movie also helps to like ground

9:06

him. It gives him something that he really

9:08

has too many times on like the same

9:10

exact lines and jokes and things that we've

9:13

seen before. So

9:16

what did you think about how Eddie acquitted

9:18

himself in this movie? Yeah, he he

9:21

wasn't ever really like being crazy

9:23

with his comedy. You know, he has moments where like if

9:25

he gets into character where he has like little outbursts, but

9:28

he wasn't being ridiculous or zany or

9:30

anything like that. And he I think

9:32

that the the emotional core

9:34

of this movie also helps to like ground him.

9:36

It gives him something that he really has to

9:38

like learn from because he doesn't really have much

9:41

of a character arc in the original

9:43

franchise. You know, he's kind of doing this thing

9:45

and like everyone else kind of just has to

9:47

deal with his bullshit. But here he actually has

9:49

to like change as a character and realize, you

9:51

know, that some stuff has changed. Yeah,

9:54

in the first movie, he loses one of his best friends

9:56

like one of his best friends is murdered right next to

9:58

him. And so ostensibly the whole thing is like film

10:00

is like a revenge movie. He's like out

10:02

for justice for his fallen friend. But like

10:04

the movie has such a light touch and

10:06

like such a great balance

10:09

of comedy and action that you kind of at

10:11

times almost forget why he's even in Beverly Hills

10:13

in the first place. And

10:16

this movie, yeah, and even

10:18

I think the second film like Bogomil,

10:21

it goes missing or is shot or something

10:23

like injured or whatever. So like, yeah, he's

10:25

kind of like, he's had this

10:27

thing lit under him that like a catalyst

10:29

that drives him forward in these stories. And

10:31

this time that's not there. And it's replaced

10:34

by that emotional core you're talking about. So

10:36

I want to talk about that a little bit

10:38

more. Let's get into some spoiler stuff. So if

10:41

you've not caught up with the movie, just go

10:43

ahead and pause it. I'm giving people just a

10:45

couple more seconds to pause it before we okay.

10:47

All right. So yeah, what did you make of

10:49

like the Taylor pay clear that she's like, you

10:52

know, inherited some of

10:54

his, you know, sneaky ways and but she

10:56

has a little bit more of like a

10:59

different compass for her character. So

11:01

yeah, so yeah, I really liked that

11:04

evolution of that part of the of this movie.

11:07

What did you think about Joseph Gordon-Levitt? He's

11:10

great too. You know, I honestly wish that there was a

11:12

little more of like interaction

11:14

with them as characters because they have some they have

11:17

a really great, you know, banter and chemistry back and

11:19

forth. And I would have liked to have seen, you

11:21

know, the big one of the big action sequence in

11:23

the middle movie is probably the height of it. I

11:26

think I would have liked more if you know, if they were

11:29

forced to be together for a little bit longer in the

11:31

movie. Do you mean Taylor Page and

11:33

just Gordon-Levitt or Eddie and just Gordon-Levitt? Oh, Eddie

11:35

and Joseph Gordon-Levitt. I mean, Taylor, Taylor Page and

11:37

just Gordon-Levitt, you know, are it's fine. It's whatever

11:40

there's I that part, I actually think that there

11:42

could have been a little more meat

11:44

and substance to that other than like, oh,

11:46

they used to date and there's this kind

11:49

of weird dynamic. It never really feel

11:51

like they fully

11:54

resolve that in a way, you know, because

11:56

like they have that kiss in the house.

11:59

And then like Like it's, it kind of doesn't

12:01

fully complete, but yes, Joseph

12:03

Gordon-Leb, I would have loved to see more with him

12:05

and Eddie Murphy. They had a really good, really good

12:07

back and forth. Yeah, I read

12:09

an interview with Mark Molloy when I was doing

12:12

research for my interview with him. And he mentioned

12:14

that like they're working on a script for another

12:16

movie already. And like he might come back and

12:18

direct that. So I guess that could be an

12:20

opportunity to get these characters back together and continue

12:23

that story that way. But

12:25

yeah, I did feel that like, I wish there would

12:27

have been maybe a cleaner button to put on that

12:29

relationship as we went

12:31

forward. And similarly, actually,

12:33

because like that served as like

12:36

a replacement for the fact that

12:39

Axl doesn't really get much time to interact

12:41

with Taggart or Billy because Billy's kidnapped and

12:43

Taggart's the chief. So he's not like as

12:46

involved in the usual antics with Axl that

12:48

he usually gives. And I

12:50

think that they realized that they were missing that throughout most

12:52

of the movie, which is why they have that little tag

12:55

at the end of the movie where Axl hopped in the

12:57

car with Taggart and Billy. And that made me realize, it's

12:59

like, oh shit, yeah, we didn't really get a lot

13:02

of this. And like, I wish they could

13:04

have like reconfigured the story somehow so that

13:06

Billy was hanging out with Axl again, you

13:08

know? But like, I'm surprised that they went

13:10

that route when they easily could have done

13:12

something that like tapped even more into what

13:15

worked about the original franchise. Yeah,

13:17

I don't know how much they wanted to

13:19

rely on Judge Reinhold and John Ashton as

13:21

actors at this stage in their career, you

13:23

know? I kind of had that sense of

13:25

like, let's get them in there so the

13:27

fans of the original, you know, have something

13:30

to grab onto. And so Eddie, you know,

13:32

has that relationship to play on, but like, let's

13:34

kind of kick them to the side for like

13:36

the real action stuff, you know, get somebody just

13:38

Gordon Levitt flying in a helicopter instead of Billy

13:41

Rosewood or whatever. But I

13:44

have to talk to you about them too. Because like, I realize this might

13:46

sound nitpicky and annoying and I

13:48

apologize in advance, but like to me, the

13:51

fact that Taggart and Rosewood experienced

13:53

this rift in their relationship because

13:56

Taggart didn't support Rosewood doesn't really

13:58

make sense to me. I

20:00

don't know why they just didn't like make it

20:02

that like he's still an acquaintance of like his

20:04

daughter or something, you know, like he was probably

20:06

around and maybe, you know, could have been

20:09

introduced to her and been kind of like a

20:11

weird uncle kind of situation. Yeah. You

20:14

know, something like that, some sort of assistant

20:16

type of figure. Yeah, anything like that. Yeah.

20:19

Okay, let's take a break. And then we'll come back

20:21

and rank these movies and then present the interview. This

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for the ones who get it done. All

20:54

right, so I want to ask you, Brad,

20:56

having watched Beverly Hills Cop 3 for the

20:58

first time recently, what'd you think of it?

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21:55

Hills Cop 2 to Beverly Hills Cop 3.

21:57

It is like, I mean, I guess. when

22:00

all of the movies are theatrical. Sometimes when

22:02

you're talking about whatever, the Caddyshack sequels that

22:04

might have gone straight to DVD or the

22:07

American Pie sequels, or

22:09

those types of national lampoons movies that went straight

22:11

to video or whatever, I'm sure

22:13

there's gonna be a big drop in quality. But

22:16

for a major franchise to have an entry that

22:18

is that terrible, I think it's

22:20

pretty clear that that's the worst movie,

22:22

right? Can we jointly agree there? Yeah,

22:25

100%, it is easily the worst movie in

22:27

the franchise. Not even close. God,

22:31

and the music, like you were saying,

22:33

it's so terrible. They don't even, they

22:35

screw up Axle F. They did this

22:37

remix of it, the whole movie, and

22:39

it just does not have the same

22:42

swagger and energy and intensity and playful

22:44

sense of fun that the real music

22:46

does. And it just feels like this

22:48

hollow echo of itself. It's awful. And then also

22:50

like the- I will say I don't mind

22:52

the orchestral version of the theme

22:55

occasionally, but the fact that they didn't

22:57

rely more on the synth version is

22:59

insane. Yeah, yeah, totally. I

23:02

also just wanted to underline what you're saying about

23:04

the movie kind of looking bad, like the editing

23:06

is terrible, but also like John Landis directed this

23:08

third film and he's directed some good stuff over

23:10

the course of his career. It seems like he

23:12

should know what he's doing by the time it

23:14

comes to early 90s when

23:16

he starts making this movie. And there are

23:19

like single shots of characters

23:21

having conversations where people are framed-

23:23

Who's a theme park worker who

23:25

inexplicably sparks a romance with Axel

23:27

for no good reason whatsoever. It

23:30

seems like that character was maybe originally intended

23:33

to be his niece and the movie would

23:35

have been more of a diehard riff at

23:37

the theme park with Axel and his niece

23:39

working together. There

23:42

was another one where

23:44

that actually came from

23:47

Robert Town, which would have

23:49

teamed Eddie Murphy with Sean Connery as a Scotland

23:51

year. But it seems like some remnants were kind

23:53

of kept in Beverly Hills got through, some things

23:55

to the ridiculous and terrible theme

23:58

park angle it has. Yeah. Okay,

24:01

so that's number four. I

24:04

would personally say that Axle F goes in the

24:06

number three slot, but what do you think?

24:08

Yeah, I agree with that too, because it's not

24:10

quite as good as one or

24:13

two, but it stands on its own ground.

24:15

It's entertaining enough. It's decent. I enjoyed it.

24:17

Yeah, I think there's some good

24:19

stuff in here. I may have sounded a little

24:21

harsher on the movie than I actually was. I

24:24

enjoyed watching it. I just think there's

24:26

room for improvement. There are ways that this movie could

24:28

have been better. I really liked the practical helicopter stuff

24:30

at the end of this movie. You

24:32

can actually tell that they're shooting it with a

24:34

real helicopter. You

24:37

can fake a CG helicopter

24:39

flying through the streets, but you

24:41

can't convincingly fake all the blades

24:43

of grass being blown down by

24:45

the blades and stuff like that.

24:48

You can actually tell that they really did this, and

24:51

you get that sense that this is a visceral

24:54

thing. This is a real object in

24:56

space here, so I really appreciate that. Also,

24:58

it feels like a direct slap in the face to John

25:00

Landis. Yeah, Jesus Christ.

25:03

It doesn't work well with

25:05

helicopters. Ooh. Yeah, you

25:07

can look that up if you don't know the truth

25:09

behind that story. Okay, so

25:11

we've got the final two here. So now

25:13

it's just a matter of whether we put

25:16

the first movie first or the second movie

25:18

first. Let's talk about the second

25:20

movie for a second, because Tony Scott directed that.

25:22

There's so much style in Beverly Hills Cop 2.

25:25

Did you rewatch that one leading up to this as

25:27

well? I said the

25:29

opening, I actually hadn't seen that one in its

25:31

entirety. So yeah, I did watch it, and it

25:33

was basically the first time I watched the entire

25:35

movie, so yeah. Okay, that's right. So

25:38

yeah, when Boganville was

25:40

running in the opening scene, and everything

25:43

was just bathed in orange, it is

25:45

so pure Tony Scott 80s, hyper-stylized,

25:49

full-on, top-gun level

25:52

imagery visuals and stuff. So I

25:55

love that, because it's totally different than what

25:57

the first movie looks like. The first movie

25:59

looks... pretty standard like there's not

26:01

really a bunch of what

26:03

I would call like or the second movie first

26:05

and Let's talk about the second movie for a

26:08

second because Tony Scott directed that There's so much

26:10

style in Beverly Hills Cop 2 like did you

26:12

rewatch that one leading up to this as well?

26:14

So I said the opening I actually

26:16

hadn't seen that one its entirety So yeah, so

26:19

I did watch it and it was basically the

26:21

first time I watched the entire movie. So yeah,

26:23

okay, that's right So yeah, like

26:25

you know when Boganville was running in

26:27

the opening scene and everything is just

26:29

bathed in orange It is so like

26:32

pure Tony Scott 80s Hyper-stylized

26:35

like full-on top gun

26:37

level, you know imagery visuals and stuff

26:39

Yeah So I love that because it's

26:42

totally different than what the first movie

26:44

looks like the first movie looks pretty

26:47

standard Like there's not really a bunch

26:49

of what I would call like

26:51

directorial flair or whatever in that first

26:53

film it's just like a sturdy

26:55

story that works on its own and doesn't really

26:58

rely on Style to

27:00

get it by but the Tony Scott

27:02

movie is like so stylish and it's

27:04

also like pretty dark compared to the

27:06

first film Like yeah, it's a nastier

27:08

movie in some ways and

27:11

like What happens to Billy

27:13

Rosewood in the second movie where he basically like

27:15

goes off the defense deep end and becomes like

27:17

a gun nut And he's like obsessed with weaponry

27:19

and like he's got a cobra poster on his

27:22

wall, which is funny The

27:24

first movie was basically meant to

27:26

be a Sylvester Stallone movie that

27:28

ended up He walked

27:30

away from that movie and made cobra which is

27:32

like what his vision for what Beverly Hills Cop

27:34

should have been and so The fact that Billy

27:36

Rosewood is like a fan of that movie is

27:38

just funny. So yeah There's like some

27:40

really good stuff in that film. But for

27:43

me, I think it's a little bit

27:45

under the first movie But what do you think about it? Yeah,

27:47

I think I'm pretty much in the same route because Tony Scott

27:49

does bring A lot more

27:52

visual style to the movie and the action feels

27:54

like it has more weight and it's a bit

27:56

more serious I also think the second

27:58

one falls a little bit short because it is feel like it

28:00

has any set pieces that are as big as

28:03

the first one. And the first one starts

28:05

off with an awesome car chase

28:07

with some great practical crashes. Like when you

28:09

have that truck barreling through like a suburban

28:12

neighborhood and just smashing through cars, real explosions

28:14

and stuff, like it's a really good big

28:16

sequence. And then there's some like some shootouts

28:18

later. And I don't feel like there's ever

28:21

really a sequence that is as big as

28:23

that opening, which is a little bit to

28:25

the detriment of the first movie. But the

28:27

second one, I don't feel like really has

28:29

a big action set piece like that

28:32

to like really be like the star or the

28:34

focal point. I think that that's where it kind

28:36

of like falls a little bit. Yeah,

28:38

there's the I guess the shootout at the

28:40

end of the warehouse or whatever. But like,

28:42

that kind of feels like it could have

28:44

gone in any 80s movie, like

28:46

a generic action movie. So yeah, so all

28:48

right. Well, I think it sounds like we're

28:50

in agreement then. So the first movie should

28:52

probably be number one, then right? Like, that's

28:55

the only thing we have left. So I

28:57

think, I don't know, for me, the first

28:59

film is like the perfect action comedy. I

29:01

know it's like one of the forebears of

29:03

the entire genre. I think technically

29:05

like 48 hours beat it to the punch

29:07

and other Eddie Murphy movie that you could call

29:09

technically like a buddy cop type of film. But

29:11

like in terms of action comedies, for

29:14

me, it doesn't really get much better than the

29:16

first Beverly Hills cop. It's so good that comedy

29:18

is like on point all throughout the action is

29:20

really good. And it's also like a real detective

29:23

story to like, you've got a

29:25

real thing in there, a real skeleton

29:29

for them to like hang this story

29:31

on that feels like Axel

29:33

Foley is actually good at his job. Like he's

29:36

a good detective going through the motions of trying

29:38

to solve his friend's murder. And like, there's

29:40

a practicality and like a step by step and

29:42

like a process kind of a process oriented approach

29:45

to telling that story that I think really works

29:47

for that film. But what do you think about

29:49

the first movie? No, I agree 100%.

29:52

It's got like a great mix of

29:55

Eddie Murphy's brand of comedy, letting him do his

29:57

thing, but also not forgetting that like, oh, this

29:59

is still... an action movie and

30:01

like a crime movie and it

30:03

doesn't like sacrifice any of that for Eddie

30:06

Murphy's comedy. All the stuff where like Eddie Murphy

30:08

gets to like you know run off at the

30:10

mouth and be hilarious and a smart ass like

30:12

it all makes sense within the context of the

30:14

story. There's nothing that is just like okay we'll

30:16

let Eddie Murphy do his thing no matter how

30:18

little sense it makes you know it's really grounded

30:21

and yeah it works. It's something that like I think some

30:24

action comedies that are

30:27

meant to be more grounded in reality kind of forget

30:30

and this one yeah Beverly Hills Cop has

30:33

always done it really well. Is

30:35

there a favorite Axel Foley moment across all of

30:37

these movies for you? Is there one thing that

30:40

sticks in your head as being like either representative

30:42

of the character or just like tickles you in

30:44

the right way? I mean

30:47

I've always loved the scene in the original where

30:49

he pretends to be a reporter from Rolling Stone

30:51

to get to get a hotel room. The

30:54

article is going to be called Michael Jackson Takes

30:57

On The World but now it's going to be called Michael Jackson Takes

30:59

On The World unless you're trying to get a hotel room at Beverly

31:01

Hills Hotel. But

31:05

yeah like that's I love that and one of the things

31:07

I really like in the second one too and like it's

31:09

something that you don't really see an

31:11

evolution of very often in action

31:13

comedies like that. Maybe

31:16

22 Jump Street is the only one that really like

31:18

has had some fun with it but like in a

31:20

more meta way. But I like that this time when

31:23

he's in Beverly Hills in the second one his way

31:25

of staying somewhere is to just basically

31:27

squat in a mansion that's beyond

31:29

reconstruction and that seems hilarious too.

31:31

Yeah that's that's one

31:34

of my favorite things about Axel Foley. That's

31:36

I say this in the interview with Mark

31:38

Mullay in a second but that's like I

31:40

think Axel's superpower is that he has this

31:42

ability to read people instantly and know exactly

31:44

what he needs to say and do to

31:47

like get what he wants out of them. And

31:49

the moments across all of these movies and he

31:51

does it in the fourth film too when he

31:53

yeah like adopts a character or like gets into

31:55

this you know he sort of like just barges

31:57

into places and he's like slapping clipboards around. and

32:00

just kind of like bullying people into

32:02

thinking that

32:04

they need to do his bidding or

32:06

whatever. And it's just so entertaining. There's

32:08

just like, there's something aspirational about that.

32:11

Like none of us would have the balls to ever

32:13

try anything like that in real life. So it's just

32:15

so funny to see Eddie Murphy do it and like

32:17

do it in such a funny way and actually get

32:19

away with it too. So I love that part of

32:21

the character. And actually Jeremy Smith wrote a really good

32:23

article about how this kind of evolves in the fourth

32:26

movie. And it's something that I really appreciate and

32:28

didn't fully absorb with the first time

32:30

that I watched it is that, cause you

32:33

do get to see Axel doing that same

32:35

shtick when he kind of like

32:38

confuses a couple henchmen who are digging through Billy's

32:40

private eye office and everything. And he pretends that

32:43

he's supposed to be there and was sent by

32:45

their boss. But then later

32:47

when he tries to do similar things by

32:49

trying to get into like an exclusive club

32:52

at the Eastern or trying

32:54

to like kind of get under the skin of

32:56

Joseph Gordon Levitt's character, those tricks don't

32:58

always work for him. And so like it's a cool way of

33:01

showing it's like, oh, okay, so like, yeah, Axel's still good at

33:03

what he does, but like his tricks aren't,

33:05

they haven't necessarily like fully evolved with the times.

33:07

And so like he gets help from his

33:09

daughter and like he gets pushed back from someone

33:11

who's like, no, I'm not gonna fall for your

33:14

bullshit, you know? Yeah, yeah. That's definitely like, I

33:16

wanna give the new movie credit for not

33:18

leaning as much as it could on the nostalgia stuff.

33:20

Like that's a great example. I will say that though,

33:23

I will say there's one thing that I'm a little

33:25

torn on because it almost, it's

33:27

amusing, but it also felt a little lazy

33:29

to me. And I'm not

33:32

sure where I land on, I'm curious to see what you

33:34

think, but there's a scene when they could have easily done

33:36

the hotel bit again, because he goes to the same Beverly

33:38

Hills Hotel and he starts to do a bit where

33:40

he says he's, you know, Nigel somebody from Bon Appetit.

33:43

And then he's like, you know what? I'm too tired

33:45

for this shit. Like, do you have any vacancies? And

33:48

I was like, okay, that's fine, but it's also like, oh,

33:50

maybe where you just also didn't want to try to write

33:52

a funny bit for this moment. Yeah,

33:54

I don't know. That seemed like

33:58

a callback for the people. who

34:00

have not paid attention to these movies

34:02

really closely or in a long time,

34:05

it seemed like, you

34:07

know, for the folks who remembered, it seemed like one

34:09

of those Easter eggs that like kind of works

34:12

but kind of doesn't, you know what I mean? Like it's just

34:14

kind of like, I feel like there

34:16

may have been a way, it's kind of like,

34:18

I guess it could be perceived as like a

34:20

nod to Indiana Jones just shooting the sword guy

34:23

in Raiders of the Lost Ark. Like, yeah, we

34:25

don't need to go through this whole song and

34:27

dance. But like, when that's an inherent part of

34:29

the character, and you're kind of lamp shading that

34:31

and calling attention to it, for

34:35

them to like, then back away from it

34:37

and say, like, within the

34:39

context of the movie, for Axel to

34:42

acknowledge, hey, I don't really do this anymore. And

34:44

then for him to actually try to do it

34:46

several other times in the movie, I don't know,

34:48

it strikes a weird tone, I think. Yeah,

34:50

like, I almost would have preferred if like he did try

34:52

to go through it. But because like, everything

34:55

is so easily accessible, as far as information,

34:57

like the woman goes to look him up

34:59

and like, oh, is this you? And it's

35:01

just like some stuffy British white guy. And

35:03

it's just just just foiled. Yeah, yeah, yeah,

35:05

taking it a little further than they actually

35:07

took it. Yeah, that and then he could give

35:10

up. And yeah, exactly. Because then it

35:12

would tell us something about Axel's place

35:14

in the world. And like how he maybe

35:17

those bits don't really work in 2024,

35:20

as well as they did in the 80s or whatever. But

35:23

this is just kind of like, I

35:25

don't know, it tells us that Axel's

35:27

tired, I guess, which is not not

35:29

that interesting. All right, well, I guess

35:31

without with all of that said, here

35:33

is my interview with Beverly Hills Cop,

35:35

Axel F. Director, Mark Malloy. This

35:38

is your first feature film, but you've been

35:40

directing commercials and things like that for well

35:42

over 20 years at this point, I think.

35:44

So when you first got the call from

35:46

Jerry Bruckheimer saying that he wanted to work

35:49

with you, did he mention if there was

35:51

one specific commercial or piece of work that

35:53

he saw that put you on his radar?

35:55

He didn't mention anything

35:58

on the first call that we did. He didn't anything

36:00

specific. But then since then,

36:02

he's told me that there was a bunch of

36:04

work, a lot of the Apple work I've done,

36:06

and I did like a sort of series of

36:09

kind of like short films for Apple, he'd seen

36:11

those amongst other things. And yeah, and so I

36:13

think that was, I don't

36:15

know if I've got Jerry, I don't know what

36:17

was the final bit, but I'm just glad. I'm

36:19

glad my work caught his eye. Yeah. I

36:22

was curious if you had to get special

36:24

approval from Eddie Murphy, or was Jerry's sort

36:26

of sign off enough to convince everybody that

36:28

you were the guy for this project? No,

36:31

no, I had to get Eddie's approval too. I

36:33

had to get Eddie's approval, I had to get

36:35

Netflix's approval, I had to get everyone's approval, you

36:37

know, so it was it was quite a journey.

36:40

But yeah, yeah, sort of me

36:43

and Jerry went to Eddie's house, and I

36:45

just kind of pitched him my take on

36:47

the film. And yeah,

36:50

luckily, Eddie agreed and liked it. And

36:52

here we are. What was he

36:55

most concerned about when it

36:57

came to reprising this role all these years

36:59

later? First thing

37:02

he told me he's most he said,

37:04

it's the most important characters

37:06

ever played. So he was he held

37:08

it really, you know, meant

37:11

a lot to him. And I could

37:13

really feel that. I think

37:15

like the main thing he really wanted

37:17

to make sure is I understood the tone

37:19

of the films and that and

37:21

the balance of action and comedy, I know was

37:23

really important to him. And

37:26

also, you know,

37:29

I talked to him a lot about how

37:32

this we get to see a different side

37:34

to his character, you know, the evolution of

37:36

character and Axel is a father and

37:39

Axel being vulnerable, I

37:41

spoke to him a lot of us that I

37:43

said, we've never seen actually probably vulnerable. And that

37:45

really excited me. And just sort of we talked

37:47

through that. And yeah, and Eddie really wanted to

37:49

get a sense but Eddie had such a keen

37:51

sense of the character in

37:54

his head to get her to really, you

37:56

know, like not just who Axel

37:58

Fowler used to be, but that evolution. of

38:00

character. Yeah. It was like a something

38:03

of a creative risk for him to come

38:05

back after all these years because I think

38:07

even with the third movie which is not

38:09

widely accepted as being a great entry or

38:11

whatever this franchise is still like very you

38:14

know highly thought of in the in the

38:16

community or whatever the filmmaking film loving community.

38:18

I wonder what kind of

38:20

conversations did you guys have on set like you told me

38:22

about what he was thinking going into

38:24

it but actually like on the ground while

38:26

you guys were making stuff what kind of

38:29

conversations were the two of you having about making

38:31

sure that you struck that right balance to get axled

38:33

the way that he needed to be? Yeah

38:36

we spoke a lot

38:39

about just different

38:41

scenes and where

38:44

you know where the skew

38:46

scenes comedic or where the comedy fits in and

38:48

where we wanted to be more grounded

38:51

and more emotional and just let

38:53

the action speak or where we

38:55

want to set up for

38:57

the emotion too. So we talked a lot about

39:00

just the rise and fall of the of the

39:02

comedy and the and

39:04

the and the drama and the action like all three

39:06

of those things on set we're talking about that a

39:08

lot. Yeah yeah. To

39:11

me Axel Foley's superpower has always

39:13

been his ability to read people

39:15

and like instantly know what he

39:17

needs to do and say to get what he

39:19

wants out of a given situation and what happens

39:21

a few times in this movie I was curious

39:23

if that aspect of the character was

39:26

present in the first draft of the script that

39:28

you read or if that was added in later

39:30

on when Eddie came like officially signed on or

39:32

like how did that work? Yeah no

39:34

it was but it was some stuff was

39:36

there from the very start other stuff we

39:38

were sort of working on as even

39:40

as we were shooting we were still working on some

39:43

of the scenes you know and getting Eddie's sort of

39:45

opinion on it and sort of reshaping them.

39:48

But it's funny that you say that thing about Axel

39:50

Foley's superpower that's what really excited

39:52

me about the script too is like Axel

39:54

Foley has all

39:57

that power to do that but then what I loved about

39:59

the script too was then he gets to

40:01

meet his daughter where none of his powers

40:03

are, they're all useless against her. She's seen

40:05

it all, lived it

40:08

all. Yeah. And so

40:10

she's kind of, she's his kryptonite a

40:12

little bit. So I think that's, that

40:14

was really fun to play with. Yeah.

40:16

There's that great moment when the two

40:18

of them go into that mode together

40:21

and they like try to talk their way into that

40:23

building and to that rooftop party or whatever. So that

40:25

was really fun to see as well. I

40:28

was wondering when it came down to, you know,

40:30

after the pitch was over and after you got the

40:32

job and everything, when it came down to actually making

40:34

this movie, what were you excited to bring to it

40:36

as a director? Was there something specific that you really

40:39

thought you could bring to this? Yeah, I

40:41

think like one of the biggest things I really

40:43

wanted to bring to it was to, you

40:47

know, I really looked at those at the

40:49

tone of the first two films and I

40:51

wanted to get that same tone right. You

40:53

know, I wanted to get the same tone,

40:55

like where there's

40:58

the balance between action and comedy, get

41:00

that balance between action and comedy and

41:02

also to ground the film. Like what

41:05

I think about those two films is

41:07

they're very grounded, those two films. Obviously

41:09

they're big comedy, huge action, huge set

41:11

action pieces, but the films

41:13

are grounded in character. And so I

41:16

really worked hard on that, on grounding

41:21

the film, but also grounding

41:23

the action to shooting

41:26

everything in camera, just pulling

41:28

everything back a little bit,

41:30

building action scenes around character

41:32

rather than spectacles and

41:35

sort of framing the film that way. And also just trying to

41:38

really give fans of the

41:40

franchise what they want

41:42

from a Beverly Hills Cop film, but also

41:47

give, make it, make it a little bit unexpected

41:49

too with this whole emotional angle to the film.

41:51

Yeah. How did the movie

41:54

change from the pitch to the final cut?

41:56

Was there an evolution

41:58

along the way? Yeah, there

42:00

was a big evolution, actually. Yeah,

42:03

we worked on, in that

42:05

first pitch, we worked on the script a lot, you

42:08

know, we worked on a lot of the comedy and

42:10

the relationships, a lot of the big set action pieces,

42:12

some of them were there, but we, so

42:16

we worked on, did work on some of the action, but

42:18

we worked a lot on the

42:21

father-daughter relationship. We also worked a lot on

42:23

the comedy too, but the bones of the

42:25

script were there from the very pitch, but

42:27

definitely a lot of characters definitely worked on.

42:30

Yeah. So modern audiences

42:32

have a different level of

42:34

awareness of real life police

42:36

wrongdoing these days than they

42:38

might have during the eighties.

42:41

And it seems like the Kevin Bacon character is meant

42:43

to represent the kind of rottenness that

42:45

can come with that position of power. I was

42:48

wondering what kind of conversations you had with him

42:50

and even with the screenwriters and stuff like that,

42:53

about that aspect of the story. Yeah,

42:55

look, we didn't dive too deeply into

43:00

trying to have a perspective on policing or

43:03

anything like that with the film. That's not what Beverly

43:05

Hills film, it's escapism. Do you know what I mean?

43:09

That's the type of film that is, so we didn't do that. But I

43:11

did speak to Kevin a lot about

43:13

his character. And what I

43:15

found really interesting was that half

43:19

the time when I go into Beverly Hills, I'm

43:21

kind of scared of the people in Beverly Hills.

43:24

I'm kind of like also so

43:26

perfect and so like sheened

43:29

and polished and everything like that.

43:31

And I mean, Kevin spoke a

43:34

lot about that. He had sort of shared these

43:36

same feelings and must be scared of this like

43:38

Beverly Hills people. So that affected,

43:40

we were sort of looking at Beverly Hills even

43:43

more so than we try to dig into

43:45

the police aspects of things, yeah. It

43:47

kind of felt like some of the areas in

43:50

Beverly Hills where you were filming, especially during the

43:52

big truck chase at the end. That

43:54

seemed like that was filmed right outside of

43:56

Victor Maitland's house from the original movie. Like,

43:58

did you actually go back? and

44:00

look to where that first film shot or did

44:02

it just happen to be the first one? No,

44:04

I know where the first film was shot and

44:06

it was there, but no, we didn't get back

44:08

to the actual one, but definitely, but

44:11

we had echoes of that in our

44:13

head. We wanted to bring back to

44:15

that kind of timeless kind of feel

44:17

of that, yeah, yeah. How

44:19

important, I guess, along those same lines, how important

44:21

was it for you to get the music right

44:23

in this movie? Because that was such a big

44:25

part of the experience of watching the original film.

44:28

Totally, and I got

44:30

to make my first film, but

44:32

it gives me axle-F and was like, oh, you can

44:34

use this in your film too. I'm like, wow,

44:37

okay, this is brilliant. So

44:41

all along, I had such a love for

44:43

that soundtrack, the soundtrack from one and two,

44:45

I was just like, I

44:47

could use these in my film, we were playing

44:49

it on set as we were shooting, we were

44:52

playing the Biffy Willscott soundtrack because we just got

44:54

a new, we're panning, okay, yeah. Let's

44:56

make it go a little bit faster or whatever. And

45:00

really, I spoke, worked a lot with

45:03

Lauren Bol, our composer, who

45:05

did a brilliant job on

45:07

making this, we

45:10

wanted to make the soundtrack of obviously

45:12

a very, as such a big

45:14

part of it as it has been in other

45:16

Beverly Hills copy films, but also to show that

45:19

we weren't trying to reinvent it or do anything

45:21

like that, we wanted to show how much we

45:23

loved the original and that this was our evolution

45:26

of what had been there in the past. So

45:28

it was, with all this, a lot

45:30

of it was just really like a love letter to

45:32

those first two films a little bit to show,

45:35

hey, we love what's been in the past,

45:37

we're gonna bring it into a contemporary world,

45:39

but we want people to know how much

45:41

we love it. Yeah, yeah. That seems like

45:43

a challenge that you would have to face

45:45

in a bunch of different areas when making

45:47

this movie in terms of like how much

45:49

to lean on nostalgia versus how much to

45:51

bring it forward. Did you have sort of

45:54

a North star idea, like a

45:56

guiding light of how to approach those questions

45:58

in a bunch of different ways? different areas

46:00

of making this film? I

46:03

don't think there's an exact North star

46:05

like that when you're doing that, because

46:07

I think it can be a

46:12

moving target sometimes, do you know what I mean? And a lot

46:14

of that actually, a lot of

46:16

the nostalgia happens

46:19

in the edit too. A lot of those decisions are happening

46:22

in the edit suite too. So yeah,

46:25

like we definitely wanted to, I

46:27

think the interesting thing is that it's been 40

46:31

years since Beverly Hills Cop come out. This is not

46:33

a sequel. It's like, this is not

46:35

one that's coming out 10, five, 10 years after, like

46:37

most of them do, do you know what I mean?

46:39

Not only like these, the sequels come out like a

46:42

few years. So it's been 40 years.

46:44

So we wanted to make sure we

46:47

took people back to that time

46:49

and place and reminded them of

46:52

what that film felt like and what a Beverly Hills

46:54

Cop film feels like. And so we had to, we

46:56

did use a lot of nostalgia to do that, but

46:58

also to bring a new audience

47:00

in and say, hey, this is what a Beverly Hills

47:02

Cop film is like to them

47:04

too. And so we definitely

47:07

leant on it more heavily at

47:09

the opening of the film too,

47:11

where we wanted to really place

47:14

people in Axel's world. This is

47:16

where Axel's world, this is his

47:19

space and it is kind of caught in time

47:21

a little bit. And then when we come to

47:23

LA, we feel the change not

47:26

just in tone, but also in

47:28

kind of generation a little bit too, yeah.

47:31

Yeah, and speaking of the generation, tell me

47:33

about incorporating the next generation in the saga

47:35

in the form of Taylor Page and Joseph

47:37

Gordon-Levitt. Like when you came on board, did

47:39

you tweak any of the dynamics those characters

47:41

had with anyone else or was it basically

47:43

always planned to be as we see it

47:45

in the movie? Yeah, no,

47:47

no, no, we played it. We tweaked

47:49

both those roles a lot, a lot,

47:52

especially Joseph Gordon-Levitt's role. Just

47:54

the, it is

47:57

that buddy cop thing. It's very much trying to...

48:00

find that rub between

48:02

him and Axel and how that plays

48:04

off, but also serves the

48:06

story as a whole. And

48:08

Joe was great. Joe came in with

48:10

so many ideas on his character and

48:13

how we can shape

48:15

his character. And we worked a lot with

48:17

Joe once he came in to define

48:21

his angle on the comedy.

48:23

And what's brilliant about Joe, why I really love him, is he's

48:26

very funny, but he just plays in a

48:28

very different way to Eddie. He plays it

48:30

very straight. And I think the two of

48:32

them together, that's one of the things I

48:34

love most about the film. Yeah, yeah.

48:36

And then Taylor always knew the, it wasn't

48:39

about Jane

48:46

being a comedic, you

48:48

know, it wasn't about putting Axel and his daughter

48:51

has to be this wisecracking kind of thing. We

48:53

definitely, you know, the script was built in a

48:55

way that where she's she's a

48:57

lawyer and she's the kind of different character. And so

48:59

I saw when I first come on Taylor,

49:02

who I had in my head from the very

49:04

start, there's just like a real strength in her

49:06

eyes and strength of character. And it just was

49:08

like, I want to see her go to toe

49:11

to toe with Eddie Murphy, which

49:13

is not an easy thing to do, I can

49:15

tell you. Yeah. Yeah. I

49:17

know the first movie famously, he sort of

49:19

like came in like a whirlwind and was

49:21

responsible for so much improv and really helped

49:23

contribute to the lightness of the tone in

49:25

that first film. What was the improv process

49:27

like for you? I mean, being presumably a

49:29

fan of at least these first two movies,

49:32

like being on the set and watching Eddie

49:34

Murphy improv, like how do you decide when

49:36

to rein him in? How do you know,

49:38

you know, what to do there? You

49:42

don't rein him in. That's

49:45

one big alert that you did not rein

49:47

Eddie in. Like, like, not every

49:49

time it's gold, you know, but but you

49:51

know where he's trying to take it or

49:53

what he's going to do with it, you

49:55

know, so I always don't run in. And

49:57

the big thing, you know, I

50:00

set out to do was just to create

50:03

a space for Eddie to do his thing, or for

50:05

Eddie and Joe to do that thing. Like

50:07

to put the right cast, right actors across from

50:09

him, create room

50:11

in the writing for that to happen

50:14

and create a space on set where

50:16

Eddie can work his magic.

50:18

That's a big part of

50:20

my job is to build that environment. And

50:22

then so much of, some

50:26

of the funniest moments in the film is

50:28

Eddie, just improvise, you know?

50:31

Yeah. Awesome. Well, I think

50:33

I'm out of time with you, but thank you so much for your time today.

50:35

Thanks to the chat, I really appreciate it. Thank you. Yeah,

50:38

definitely. I'm excited to see it pop up

50:40

inevitably as the number one movie on Netflix,

50:42

cause I'm sure it's- Hopefully, hopefully, hopefully fingers

50:45

crossed. Thanks a lot, thanks. Take care. Thanks,

50:47

bye bye. All right, any closing thoughts on this

50:49

movie or any of the other films, Brad, anything

50:52

that we didn't touch on here? No,

50:54

I'm honest. If there's one thing I'll say, and I'll

50:56

say this for almost anything that is really strict to

50:58

streaming, I wish I could have seen this in theaters,

51:00

cause I'll bet it would have been fun to see

51:02

in theaters with an audience. You know, it's not one

51:04

of the funniest action comedies I've ever seen, but it

51:06

would have been fun to watch with a group of

51:08

people who are fans of Beverly Hills Cop. And

51:11

there's some good action sequences here that I think would

51:13

have looked really cool in theaters. The helicopter sequence in

51:15

particular, I think is a really great big screen action

51:18

moment. And I think it would have worked great in

51:20

theaters. So yeah, it's a bummer that

51:22

they didn't even do some kind of like, you

51:24

know, limited week run leading up to its release

51:26

at Netflix, like they do with a lot of

51:28

prestige pictures that they're trying to get for awards.

51:30

So yeah, it's a bummer. Yeah. I'll

51:33

just say shout out to Ronnie Cox who

51:35

played Bogomil in the first couple of movies.

51:37

He's just like such a fun presence. Like

51:39

he's supposed to be this sort of.