The cinema summer of 2024 should be dubbed Return of the Ancient Franchise.
Six weeks ago, Garfield the cat returned to the big screen, not quite two decades after his previous appearance. One week later, Will Smith and Martin Lawrence reunited (yet again!) for Bad Boys: Ride or Die. In two weeks, we’re getting Twisters, a sorta-kinda retread of 1996’s Twister. The winner’s trophy, however, goes to Michael Keaton’s return in Beetlejuice Beetlejuice on Sept. 6 ... not quite four decades after he last donned that pasty make-up.
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| Having become reluctant allies, Jane (Taylour Paige) and Bobby (Joseph Gordon-Levitt) listen attentively as Axel (Eddie Murphy) outlines a plan to gain access to a top floor private gathering. |
The good news is that director Mark Molloy and his scripters — Will Beall, Tom Gormican and Kevin Ketten — respect this franchise’s fan base. They’ve delivered a well-assembled product that ticks all the necessary boxes, and — in more ways than one — can be considered a cast reunion and nostalgic throwback to the 1984 original.
The soundtrack certainly hasn’t changed; the film opens with the pulsating sax grooves from Glenn Frey’s “The Heat Is On,” and it doesn’t take long for The Pointer Sisters’ “Neutron Dance” and Harold Faltermeyer’s instrumental “Axel F” to arrive. Indeed, the latter pops up, in various arrangements, throughout the entire film (perhaps a bit too frequently).
And — of course — Murphy takes every opportunity to deliver Axel’s signature foul-mouthed and smart-assed schtick, often while pretending to be somebody else. It’s part of the character’s charm, and no; it hasn’t worn thin.
The bad news is that producer Jerry Bruckheimer’s reputation precedes him, with respect to the ludicrously overblown amount of real estate, vehicles and personal property that gets destroyed during the course of this saga. Bruckheimer remains the poster boy for wretched excess, and Molloy and stunt supervisor Mike Gunther cheerfully oblige.
(That said, it’s nice that the original Bruckheimer/Don Simpson logo heralds this new film, by way of acknowledging his late partner’s involvement with the first one.)
The action kicks off one evening in Detroit, as Axel interrupts the theft of sports memorabilia from the players’ locker room during an ice hockey game. The subsequent vehicular chase finds Axel in a garbage truck-sized city snowplow, in pursuit of four baddies on peppy quad-cycles: a smash ’n’ crash sequence that destroys a good-sized chunk of the city.
After which, Axel’s only “punishment” is standing back as beloved boss Deputy Chief Friedman (Paul Reiser) falls on his sword and retires, in order to keep his “favorite cop” out of trouble with the Police Commissioner.
(As if. One would hope that Beall and the other writers would try a little harder, but this sort of nonsense has long been a franchise hallmark.)
. This is their second directing effort, coming after 2009's modestly amusing 
, which they also wrote; sadly, that film became no more than another of star Jim Carrey's recent nonstarters.
(1982) and 
(1987); his recent "movie star efforts" 
and 
, and he has a genuine gift for coaxing telling performances during quietly intimate moments. My One and Only has many of these, thanks to a whimsically quirky script from Charlie Peters, working far above the slapstick junk with which he was involved in the 1980s and '90s. 
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) debuted this stage drama at London's Donmar Warehouse in August 2006. Following a subsequent transition to Broadway, Langella won a Tony Award for best actor in a drama.