Beverly Hills Cop (1984)
Directed by Martin Brest
Fast-talking, quick-thinking Detroit street cop Axel Foley has bent more than a few rules and regs in his time, but when his best friend is murdered, he heads to sunny Beverly Hills to work the case like only he can.
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What critics compared Beverly Hills Cop to
They’re also in charge of Beverly Hills Cop ’s resurrection.
It’s hard to imagine these days how thoroughly synonymous with Hollywood the producers Don Simpson (now deceased) and Jerry Bruckheimer were in the eighties and nineties, how they bestrode the town like colossi, how lavish were their offices, how they churned out hit after hit – Flashdance, the Beverly Hills Cop films, Top Gun, shiny-loud constructions that went Vroom! and Sizzle! and Blam-Blam-Blam!
Thanks to countless showings on cable TV over the past two decades, Lowery and Burnett have evolved into a beloved duo in the vein of Lethal Weapon’s Murtaugh and Riggs or the trio of Foley, Taggart, and Rosewood in the first two Beverly Hills Cop films.
I can’t deny that fans of Transformers , Beverly Hills Cop , and/or the first two Bad Boys movies (notice the age-range span there), will probably enjoy this film.
Martin Lawrence, in the original “Bad Boys,” shares the rarified air of Eddie Murphy in “Beverly Hills Cop”.
Joe Pantoliano makes a welcomed return as Pepto-Bismol-swigging Captain Howard, a still capable riff on all of those screaming captains from Beverly Hills Cop movies.
Produced by Don Simpson and Jerry Bruckheimer ("Beverly Hills Cop," "Top Gun"), "Bad Boys" is, not surprisingly, a high-concept cops-and-robbers film with a role-reversal plot that could, if necessary, be made to fit on the head of a pin.
Un plan « machiavélique » qui débuta en 1995 avec le retour du cinéaste Tony Scott (Crimson Tide), responsable de certains des plus gros succès du duo au cours de la décennie précédente, dont Top Gun et Beverly Hills Cop 2, mais aussi avec l’embauche d’un nouveau poulain qui figurait déjà parmi les réalisateurs les plus en vue du monde de la publicité et du vidéoclip aux États-Unis : Michael Bay.
People who have Beverly Hills Cop and Miami Vice encoded in their nervous systems and are looking for restimulation may be amused by this formulaic sass machine and police procedural, but I was writhing in my seat.
It should come as no surprise that this endless spectacle of tired comedy routines and overblown action fare was produced by Don Simpson and Jerry Bruckheimer, action-meisters of such '80s blockbusters as "Beverly Hills Cop" and "Top Gun."
If you want to look for a movie that is similar in tone to “The Heat,” I would harken back to “Beverly Hills Cop” as it is also hilariously profane and uses violence to ground the movie and raise the stakes, but not so much that it takes you out of the movie.
More a female-bonding “Beverly Hills Cop” transplanted to Boston than another raunchy and raucous “Bridesmaids,” “The Heat” is funny and entertaining enough to make fans of Melissa ?McCarthy (“Bridesmaids”) and Academy Award winner Sandra Bullock (“The Blind Side”) happy.
The legacy is a long one: "Beverly Hills Cop," "Tango & Cash," "Starsky & Hutch," "48 Hrs.," "Men in Black," "Turner & Hooch," "Miami Vice."
In fact, it follows the same basic formula of movies like “Beverly Hills Cop” and “Rush Hour.”
It’s no Beverly Hills Cop, but The Heat does spend a decent amount of time with its cops ‘n robbers plot — bizarre, because it’s such a nothing story.
“The Heat” is never “Beverly Hills Cop” with women.
Harold Faltermeyer, who also created the iconic theme music for Beverly Hills Cop, returns as the composer for Top Gun: Maverick.
Top Gun: Maverick , though it may draw on memories of unrivalled American hegemony, is really harking back to the era of star-led genre filmmaking that started in the mid-1980s, with Beverly Hills Cop and Top Gun , gathered pace with Die Hard and ended around 2000, the last time the year’s biggest film wasn’t animated, computer-generated or fantastical.
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The first "Bad Boys" was modest by comparison, a cliched-but-energetic riff on "Beverly Hills Cop" and "Lethal Weapon."
Producer Jerry Bruckheimer drafted the blueprint for this sort of thing with Beverly Hills Cop (1984) and struck pay dirt again with Bad Boys (1995); this sequel, directed by right-hand man Michael Bay, is as sour and jaded as they come.
When the brothers analyze a music video, or a teen keyboardist proves his chops by launching into Harold Faltermeyer’s synth-pop theme from “Beverly Hills Cop,” you know Carney has sharp memories of the era.
If you recall, Lethal Weapon, Rush Hour, Bad Boys, and Beverly Hills Cop had genuine thrills in them as well as high-calibre, consistent jokes.
The actor — who spends much of the film dressed in Eddie Murphy’s outfit from Beverly Hills Cop for reasons unclear beyond the first name his character and the comedian have in common — shares a story credit with writer Kelly Marcel.
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(Durpaire adds that if “The Intouchables” is offensive, so were the “Beverly Hills Cop” movies.)
But it’s Day’s manic, ratty work as Dale that pushes the film the furthest in terms of flat-out comedy; while it’s not on the level of, say, Eddie Murphy in 48 Hours or Bronson Pynchot in Beverly Hills Cop , this more than anything is the film that will make Day a star.