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 <email@example.com>
Axel (Eddie Murphy) introduces himself at the gun club as "Richard James", the name of Murphy's musician friend who produced his 1986 album. See more »
The plane Axel arrives in Beverly Hills on changes from a 727 to a 737 between shots. See more »
[after being ordered to Lutz's office to explain Rosewood's call to the FBI]
Can't keep God waiting.
I don't want to hear that kind of talk, Sergeant.
Oh come on, Andy! He's fired every cop who used to work for the old chief! The three of us is all that's left!
He's still head of this department, Sergeant.
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'Beverly Hills Cop II' is an utterly obnoxious movie that epitomises the worst aspects of flashy '80s action and serves only as a monument to Bruckheimer and Simpson's lack of interest in anything besides cars, guns, tits and swearing.
Sandwiched between the enjoyable original and the weak third movie, not only is this sequel soulless, abrasive and boring, it's also entirely lacking in laughs. Eddie Murphy's Axel Foley comes off as a rude, selfish jerk this time round, and it's the fatal flaw of the movie that none of his cocky blather is remotely inventive. He just talks and talks and talks and talks and talks.
Meanwhile the overly complicated plot relies on moronic coincidence to drag itself from one empty set piece to another, and the gaps in logic are filled with unmemorable pop songs, orange filters, Harold Faltermeyer's keyboard/electric guitar/bin lid/biscuit tin score, shoulder pads, bright red lipstick and big sunglasses. Trash.
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