By the time Eddie Murphy made BEVERLY HILLS COP in 1984, he had already cemented his reputation as a bonafide film super-star of the highest order.
Starting with his screen debut in 48 HOURS (1982), followed by TRADING PLACES in 1983 and BEST DEFENSE in 1984, Murphy was on a roll of one box-office blockbuster after another.
In BEVERLY HILLS COP, which I watched last night for the first time since its’ initial release, Murphy owns the screen for the duration of the film which showcases his comedic chops as well as a few dramatic scenes and loads of over-the-top action.
In BEVERLY, which is the perfect 80s’ formula action movie vehicle, Murphy plays Detroit detective Axel Foley. When his best friend is gunned down, the murder is linked to a Beverly Hills art gallery owner. Foley heads west and what ensues is the classic fish out of water formula. Except this time, it’s the fish who is in charge as Foley dazzles both friends and foes with his non-stop bull shit, his shit eating grin and that unforgettable laugh.
Foley soon learns that the art gallery is a front for a drug smuggling operation and even though he’s saddled with two Beverly Hills PD detectives, he’s a step ahead of everyone in getting the goods on the villain who killed his friend.
BEVERLY HILLS COP has one great thing and one not-so-great thing going for it. The great thing is, of course, Eddie Murphy.
The not-so-great thing is the soundtrack of the film which is saturated with ’80s synth composed “music” which only serves to remind one of how truly bad popular music was in the 1980s. Eschewing a regular instrumental score, BEVERLY finds almost every moment underscored with some kind of ’80s synthetic swill. While it’s annoying, it’s not bad enough to sink the film due entirely to Murphy.
BEVERLYHILLS COP is a fun movie showcasing one of the major cinematic comedy stars of our time. Recommended.
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