A veteran cop, Murtaugh, is partnered with a young suicidal cop, Riggs. Both having one thing in common; hating working in pairs. Now they must learn to work with one another to stop a gang of drug smugglers.
Detroit cop Axel Foley is delighted when he receives a surprise visit from his best friend Mikey Tandino, who lives in California. Not long after Mikey arrives in Detroit, Mikey is killed, right in front of Axel, by a man named Zack. Axel follows Zack to Beverly Hills, California, where Beverly Hills police department Lieutenant Andrew Bogomil assigns Detective Billy Rosewood and Rosewood's partner, Sergeant John Taggart, to keep an eye on Axel. Axel visits his friend Jenny Summers, who works in an art gallery. With Jenny's help, Axel discovers that Zack works for Jenny's boss, Victor Maitland, the man who owns the art gallery. Maitland is a drug kingpin who is using the gallery as a front, and Maitland had Zack kill Mikey after Maitland accused Mikey of stealing some of Maitland's bonds. With the help of Jenny, Billy, and Taggart, Axel does what he can to make sure Maitland and Zack won't kill any more people. Written by
Rather than having an incompetent Nick Nolte for a partner as in 48 Hours, Eddie Murphy shows he can take control of a movie all by himself. This was in the days when Don Simpson and Jerry Bruckheimer were getting started in their modern appeal to the dollar. It also proves to be the best. Audio is skimped on, as it always is in their movies, but the highlight is the fact that Martin Brest--previously fired off of WarGames--doesn't let Bruckheimer get in the way of the story.
Had a less competent director, say Tony Scott or Michael Bay, been put in charge, the movie would have fallen apart like BHC II did. Fortunately, Brest knows how far to push things and when to back off. He is helped by Arthur Coburn and Billy Weber, two of the best editors short of Michael Kahn. It's too bad that Arthur lost precedence in Hollywood and Billy wound up a slave to Bruckheimer.
The charge in this movie is still strong after nearly 20 years, but there are obvious signs of aging. Thankfully, the dialogue is not Bruckheimer's typical macho-BS, but rather natural and fluid. Eddie delivers again and again. The remainder of the cast, obscure as they are fair, but it is John Ashton who has the least trouble with his lines.
The only major fault I find with BHC is not in the film itself, but rather in how many times the formula has been duplicated, mimicked, plagarized, and copied. Each time less inventive or original than the rest.
Overall, funny and somewhat vulgar (this is not for fans of Dr. Doolittle or The Nutty Professor), but it shows when Eddie was at his pinnacle of ability...before the inferior screenwriters took over. A gem of the 80s. 3.5 out of 5 stars.
15 of 25 people found this review helpful.
Was this review helpful to you?