Roper, a hostage negotiator catches a murderous bank robber after a blown heist. The bank robber escapes and immediately goes after the man who put him behind bars. The ending is played out... See full summary »
A Florida con man uses the passing of the long time Congressman from his district who he just happens to share a name with, to get elected to his version of paradise, Congress, where the ... See full summary »
A series of strange robberies brings Axel Foley back to Beverly Hills to help his two fellow cops solve the case. All the familiar faces of the first film are back... Written by
Chris Makrozahopoulos <firstname.lastname@example.org>
An early draft written by Bud Shrake and Dan Jenkins involved Axel going undercover as a Beverly Hills rent-a-cop who helps Rosewood, Taggart, and Bogamil stop a corrupt security service operated by a Detroit hoodlum turned businessman. The script also called Chief Hubbard from Cop 1 to return and for Axel to have a 20 something female partner/love interest named "Lucy". See more »
There is a car behind Axel right before he pulls into a driveway to turn around and go speak to the building inspector at the house that is being redone. However, when he pulls into the driveway to turn around, the car behind Axel is gone. See more »
The Beverly Hills Cop franchise was in some ways like the Smokey and The Bandit series. They both had good original films, then each sequel was geometrically worse than the film it followed. Beverly Hills Cop II had potential. Eddie Murphy was at the height of his career. The important co-stars were mostly back. Simpson and Bruckheimer were on board as producers. Tony Scott was a hot new director... but somehow it just doesn't quite gel. Maybe Scott was a bad choice. Think of how easily the original Beverly Hills Cop movie flowed between action and comedy. Martin Brest understood how to do this. Midnight Run was another fine example. But Scott didn't get this genre right until later on with films like The Last Boy Scout and True Romance. Good screenwriters also helped those efforts. But "Cop II"?? Overall, its just too loud, fast and doesn't let either its stars or audience up for air. The villains are poorly cast and end up coming off as pretty generic. Murphy's reason for being out in L.A. is a bit more credible this time, but its poorly set up. Get this: Murphy is watching TV back in Detroit, and on the local news he hears about his police lieutenant buddy (Cox) getting shot in L.A.. Pretty slow news day in the Motor City, I guess. Detroit certainly has enough of its own shootings to cover on the news. Cox was only wounded, too! Couldn't they just have had his daughter call Murphy and that would be enough?? Once Murphy gets out to California, he meets up with old pals Ashton and Reinhold. The group shares some funny moments between numerous car chases and shootouts. But too often it seems like everyone is in a big damned hurry. Most of Murphy's dialog sounds completely ad-libbed, and the timing always seems off. He almost seems to be shouting in every scene just to make his character heard over all the set pieces and commotion. The plot involving "the alphabet bandit" is little more than arbitrary. And Hugh Heffner comes off as being the jerk he is. Not a great picture. But better than part III. 5 of 10 stars.
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