Supercharged, action man Axel

BEVERLY HILLS COP II (1987)

Reviewed by Jerry Saravia

Eddie Murphy was riding high back in 1987. He was one of the biggest stars in the world, turning in big box-office dollars with the original "Beverly Hills Cop," "The Golden Child," "48 HRS.," and "Trading Places." Murphy could do no wrong, and this rip-roaring, extremely loud sequel to "Beverly Hills Cop" was no exception. It reunited him with the two "supercops" from the original, John Ashton as the heavy-set Taggart and Judge Reinhold as the naive Billy Rosewood. Naturally, Murphy was at the center of the film, spouting jokes and obscenities galore. Something changed, though, and most critics picked up on it. Murphy was loud and irreverent as always, but there was a meaner edge and a sexist attitude that was standoffish to say the least.

"Cop II" begins with an L.A. jewelry robbery that is as loud and overdone as expected from the team of Jerry Bruckheimer and Don Simpson. Then we flash to the city of Detroit with Eddie back as Axel Foley, preening for the camera as he wears an expensive suit, drives a Ferrari, and goes deep, deep undercover trying to infiltrate a credit card scam! This raises the ire of returnee Inspector Todd (played by real-life Detroit police inspector Gilbert Hill) who is paying for Axel's expenses despite the fact that no arrests have been made. Before you know it, Axel (in a contrived scene) discovers that his good friend, Lieutenant Bogomil (Ronny Cox), has been shot by someone from the Alphabet Team who have committed a string of Alphabet robberies in L.A., including one in the opening sequence. So Axel decides to go to Beverly Hills, comfort Bogomil and his stunning blonde daughter (Alice Adair), and help solve the crimes with the reluctant Taggart and the giddy Rosewood.

When first glimpsed, "Beverly Hills Cop II" might be seen as a great movie if seen with the right audience, but it hardly qualifies on second viewing. For one, there are far too many inconsistencies, including the fact that Axel is friends with Taggart, Rosewood and Bogomil (the very same people who were ready to put him in jail in the original). Plus, Axel seems to get away with too much, including an improbable scene where he talks his way into the Playboy Mansion. Unlikely. The original was more clever by allowing scenes such as Axel using racism and a supposed Rolling Stone cover story to get inside a ritzy hotel. And how about the ridiculous scene where he talks a construction crew into leaving the house they are remodeling, thus allowing Axel to stay in a house in Beverly Hills for free, complete with a jacuzzi and a slippery swimming pool!

There is an underlying sexist edge to the film, which lead to Eddie's extremely raw, fitfully funny concert film "Raw" the very same year. Every comment made by Axel in the movie feels sexist. Consider the scene where he admires the long, shaven legs of Brigitte Nielsen during shooting practice. Or the deplorable Playboy Mansion scene. Or how he feels stiffed about paying seven dollars for a coke when he could get blown for the same amount of money. Axel's clever witticisms from the original are still there but a meanness has also taken over, as if Axel only sees women as sex objects. I only wish the writers took advantage and expanded the character's horizons to accommodate such sexual attitudes. All we learn about Foley in this movie is that he was a little thief when he was a kid, nothing more.

The sexist edge also feels tampered with, to some degree. In the original, Murphy had a good rapport with Lisa Elibacher, though they never developed a relationship beyond friendship, presumably because she is white and Foley does not see her as a sexual object. Same with this sequel where Murphy knows how to comfort Bogomil's white daughter and gets to kiss her on the cheek two or three times but no relationship develops. If this seems like a silly argument, consider "The Pelican Brief" as one of many examples in Hollywood history. In that film, Denzel Washington has a friendship with Julia Roberts but it never develops into anything else (though it did in the book).

Now for the pluses in "Beverly Hills Cop II." The movie begins with a superb title sequence where the song "Shakedown" by Bob Seger plays in the soundtrack. There are a few choice Murphy put downs and one-liners, as expected, and his gargantuan laugh is as loud and Dolby-ized as one can imagine. Also, Murphy still has good chemistry with Ashton and Reinhold, though their scenes do lack the pungent wit and camaraderie of the original. There is also an early appearance by Chris Rock as a whiny valet.

There is no doubt that the film is entertaining but it resembles more of a Rambo action piece than the comedy that one would hope for. The villains are left on the sidelines and the plot is far too confusing to care about (why would robbers plot their crimes with the use of coordinates?) The movie is loud (as are all Bruckheimer/Simpson productions), insanely high-pitched, occasionally funny, definitely sexist, profane at times, but also as evocative of the indulgences and decadence of the 1980's as any film of that period.

Axel Foley bluffs his way thru town

BEVERLY HILLS COP (1984)

Reviewed by Jerry Saravia

"Beverly Hills Cop" is a highly entertaining, derivative and messy picture - it is an action comedy but the emphasis on the action at certain points negates the comic potential. Eddie Murphy, however, steals the movie easily and shows his talent far outweighs the average cop picture, playing the Detroit cop Axel Foley who bends the rules to his advantage.

Axel Foley (Murphy) had failed to bust an illegal cigarette-selling business in an opening chase scene that sets the pace of the rest of the movie. Axel's old friend and ex-partner in crime (James Russo) comes to town, hiding from a nefarious businessman who is in the bearer bonds and cocaine business. The crux of the movie is Axel's need to apprehend the killers with the help of the Beverly Hills police department. He does not play by the rules but the BH boys do. This causes a conflict of interests but I think you can see where the film is going. It is an action comedy in the strictest sense of the word, but somehow very uneven. The comedy does not flow easily or smoothly with the action scenes, especially the final shootout that seems to come from a different movie entirely. There is some humor there with the bumbling Rosewood and Taggart team but a bloody climax undermines the comedy and goes too far. Ever since I first saw the film in 1984, I felt the ending was crude and unnecessary.

But that is the problem. Is this a comedy or an action picture? Roger Ebert famously declared the fusion of the two genres as suspect and unworkable. The screenplay by Daniel Petrie (which was shockingly nominated for an Oscar) is at its best when we see Eddie at its center, acting drunk and foolish to nail a suspected robber at a nightclub or, in general, bluffing his way out of any Beverly Hills establishment and showing the rich, glamorous denizens of the ritzy town who is the boss. That is what I remember best about "Beverly Hills Cop." The lazily written, mediocre cops and cocaine dealers stuff is something you would see in any "Starsky and Hutch" show (Steven Berkoff is hardly a one-dimensional villain and performs ably and above the mediocrity). Had the film focused on Eddie's attempts to mingle and bluff his way through Beverly Hills and completely ditched the screenplay, then it might have been a real winner.

Martin Brest directs as well as he can, but he later proved to make a more amiable and entertaining action-comedy in the classic "Midnight Run" four years later. "Beverly Hills Cop" was a solid start for Eddie Murphy and it showed his comedic talent skillfully. I just sense that it could have been so much more.

Evil Elvis sideburns does a slasher routine

THE DARK HALF (1993)

Reviewed by Jerry Saravia

Periodically haunting and somewhat watchable, "The Dark Half" is only a mild disappointment from the Stephen King pit of adapted horror novels. It is a schizophrenic picture, partly slasher and partly a character study. The slasher mentality dominates the second act, while the first act does a good job of establishing its rhythm and its main character, a writer using a pseudonym that makes him more marketable than his actual name. Good idea, insufficient depth.

Thad Beaumont (Timothy Hutton) is the writer living in Maine, married to a strong, devoted woman (Amy Madigan, perfect casting), and making ends meet by teaching creative writing at a college. Thad's pseudonymous novels have been discovered by a blackmailer who wants cash or he will out Thad. Thad decides to stage a mock burial of his pseudonym, thus also closing the lid on his main character, Machine, an evil, leather-bound dude with Elvis sideburns who seems to have emerged from the Coens' "Raising Arizona" with a propensity for slashing people with a razor. Naturally, the mock burial causes problems for Machine, who is actually a living, breathing being materialized out of the novels and seeking vengeance by killing everyone who knows Thad. There is a novel twist revolving around Thad and Machine that I will not disclose.

For ambience and a feverish sense of mood (complemented by the occasional use of Elvis' song "Are You Lonesome Tonight?"), "The Dark Half" maintains a sense of unrelenting gloom and doom (hey, it is George A. Romero at the wheel here). Unfortunately, a lot of the film has the standard slasher fare that feels out of context with the theme of duality and an artist's obligation to move on beyond schlock commercialized novels and segue to "real" novels that have something to say (the kind that don't sell). Hutton does a good job of playing both the nonplussed writer and the demonic rock and roll killer from the novels but I sense the depth has been left out of the screenplay. Aside from losing all of Thad's friends and acquaintances to a rampaging killer, the movie never toys with the differences between fiction and reality and Machine (who calls himself George Stark, Thad's pseudonym) is left to be nothing but a cartoonish psycho from dime-store novels. When even Amy Madigan and the do-gooder cop (Michael Rooker) do not seem alarmed by millions of sparrows that would've frightened Hitchcock (not to mention the sight of a decomposing, bandaged killer), then the filmmakers have lost me and my interest. "The Dark Half" is often disquieting and entrancing but it lacks any significant purpose.

Dante's crazed, cartoonish 'burbs tale

SMALL SOLDIERS (1998)

Reviewed by Jerry Saravia

(Originally reviewed in 1998)

"Small Soldiers" is director Joe Dante doing his latest Gremlins confection and it's mean-spirited fun, once the movie gets its engines rolling.

"Small Soldiers" stars Gregory Smith and Kirsten Dunst as two MUCH TOO CUTE kids with raging hormones who end up battling various reanimated toy soldiers. Chip Hazard (voiced by the typically gruffly Tommy Lee Jones) leads this platoon of robot action figures, and they are equipped to kill rival toys called Gorgonites, led by their soft-spoken leader, Archer (voiced by Frank Langella).

"Small Soldiers" begins badly with a lame introduction about how these toys are created and who their target audience is. The business meetings are led by Denis Leary as a rich tycoon, but all these scenes are unnecessary. What if we never knew how these soldiers were created or what their purpose was? Some things are better left to the imagination.

Once the movie shift gears to suburbia where the toys are sent, it gets better and better with inventive gags and superbly staged cartoonish mayhem. Two of my favorite examples: Chip Hazard searching for the human characters in a helicopter with Wagner's "Ride of the Valkieres" playing in the background, and the Barbie-like dolls who are brought to life in Bride of Frankenstein fashion (complete with the original score) and uttering lines such as, "She's gone postal."

"Small Soldiers" is light fun and frequently funny, though not at the same breath as "Gremlins." It says something about 90's kiddie fantasies, though, when the toy soldiers and monsters are more three-dimensional than the thin human characters on display here, including the late Phil Hartman as an obnoxious neighbor.

Latifah lives it up

LAST HOLIDAY (2006)

Reviewed by Jerry Saravia

(Originally reviewed in 2006)

The joy of a movie like "Last Holiday" is not so much its ideas but the charisma of its central leading star. Thanks to Queen Latifah, a boisterous, charming actress who is given one of those roles that Whoopi Goldberg only hopes to get, she makes the movie her own with class and gusto. Now, I will admit that I have not seen many of Latifah's movies. I remember her as the sole standout scene-stealer in the mediocre "House Party 2." She also had a memorable role in the electrifying "Chicago." But this movie probably suits her gifts more than I had expected.

Latifah plays a somewhat sullen sales clerk named Georgia Byrd, who works at a big chain store where she also gives cooking lessons. She also cooks up a storm at her house for a young boy next door, usually while watching TV cooking host du jour, Emeril. Georgia, however, chooses not to eat her cooked meals - she prefers Lean Cuisine.

One day, while admiring a co-worker (played by LL Cool J), she bumps her head and is knocked unconscious. Her doctor tells her she has a rare terminal disease and has only 3 weeks to live, maybe less. Rather than waiting for her inevitable demise (her HMO doesn't cover the medical expense of treatment), Georgia quits her job and uses her savings for a kick-ass vacation in the Czech Republic. She stays at the Grand Hotel Pupp, located in a remote mountain top area called the Karlovy Vary. She wears swanky dresses, has a luxurious bedroom with cushy pillows, and delights everyone in the hotel's dining room with her big appetite. She garners the attention of Chef Didier (Gerard Depardieu), who believes that life is simply all about the use of butter.

Also in attendance at this hotel is the arrogant, competitive retail tycoon, Matthew Kragen (Timothy Hutton), who has an affinity for firing people and happens to own the chain of stores that Georgia formerly worked in. Kragen also has a mistress (Alicia Witt), who is not always nice to the staff but learns a thing or two from Georgia. In fact, all the hotel's guests and workers seem renewed in their lives with Georgia's presence. Georgia expresses her need to be open since she's been living in a box for so long (she remarks that she hopes not be buried in one).

Nothing that transpires in "Last Holiday" will come as a surprise to anyone, not even the inevitable ending. What does surprise is Queen Latifah, who exudes grace and beauty in ways that few other actresses ever really accomplish. Oddly, she makes such a predictable, cliched story (previously made with the same title in 1950) seem new and inspired. Latifah has a touching scene where she confesses her past fears and regrets and finds that she has been repressing the joy of life for far too long. This is her moment of shining glory before exiting this world and she will live every moment to its fullest.

Most of the movie's characters are not half as interesting. Timothy Hutton is too good an actor to play a one-dimensional, cold-hearted weasel. Alicia Witt could have been used better, and reliable pros like Michael Nouri and Giancarlo Esposito merely show up as window dressing. Had this movie been made outside the Hollywood system, all the supporting characters would've been more colorfully drawn and carried some weight. A good example is the delectable wit and pathos of something like "Bread and Tulips," which also dealt with a woman feeling a similar sense of renewal on life.

"Last Holiday" has an ending that tries too neatly to wrap up everything, and more amplified scenes with LL Cool J wouldn't have hurt. Still, this is Queen Latifah's show all the way, expressing Georgia's joy with no apologies or restraint. And I'd love to visit that accommodating Grand Hotel Pupp as well.

Who's Knocking at Jill Schoelen's door?

WHEN A STRANGER CALLS BACK (1993)

Reviewed by Jerry Saravia

(SPOILERS IN FULL FORCE SO BEWARE)

It has been some time since I saw 1979's "When A Stranger Calls" but mostly I remember the extended and scary opening sequence with a frantic Carol Kane on the phone with some mysterious stranger ("Did you check on the children?") Charles Durning played a detective in that one, and both Kane and Durning return for an equally intense, suspenseful sequel, "When a Stranger Calls Back." It is hardly great by any means and it is flawed in its midsection, but you will not be disappointed in the visceral thrills and the compassion provided to make us care for the main characters.

The alert opening scenes set the foreboding mood fairly quickly. Jill Schoelen is Julia, a babysitter who is getting frequent knocks at the front door from some bystander who claims to have car trouble. Julia doesn't let him to use the phone to call the Auto Club, and feigns calling the club and the guy's supposed wife. The situation becomes unbearably tense when the guy knows she did not call anyone (the phone line is dead) and it all ends with a surprise twist that nobody will see coming.

Forward five years later and Julia, sporting a mullet to presumably hide her identity (though still using her same name), is a college student who senses that the same predator has been in her apartment, thanks to the appearance of a child's shirt in her closet. She triple bolts the entrance to her apartment on the third floor yet the predator still sneaks into her apartment, and sometimes through her window (though there is no fire escape). This is hard to buy even for a psychological suspense film fan like myself because people do not just materialize into people's houses and apartments out of thin air, especially if you live in the third floor. If he was a supernatural being, or maybe the Devil's emissary, I might believe it but this guy is simply a ventriloquist who does his act in blackface!

Enter returnee Carol Kane as the victim from the original film, Jill, who is now a grief counselor working at a crisis center. She knows Julia's pain and believes that someone is after the poor co-ed. Charles Durning's retired detective from the original film is summoned to find the predator - how he establishes the guy is a ventriloquist is never clear. But there are more pressing questions. What happened to the children whom Julia babysitted in the opening sequence? Sure, they disappeared and were never found again but if they were murdered, why would this mental waste of a human predator do such a thing? It occurred to me that he only wants to taunt Julia, which is mostly what he does very effectively in the chilling 25-minute opener. Why take the kids, except to suggest that middle-class or well-to-do American families living in big houses are only living an illusion? That might explain his ventriloquist act, easily one of the best scenes in the film where the spotlight is on the puppet that has no face and the psycho remains in the dark (in blackface). This mentally deficient psycho has made a point, but the sequence would have been more effective had it taken place in a performance theater setting, not a titty bar.

I do not always need motives to understand deranged psychos but a psychological thriller like this one needs a tad more depth. Also, among many loose ends (thanks to my wife who brought up a few that escaped me the first couple of times I saw the film) is the rather unfair scene where Julia is practically comatose after shooting herself in the head, or did she? It is out-of-character for Julia but in one extremely emotional scene, Julia explains to the detective that she feels she has no future, no friends and, therefore, perhaps no real existence. I am all for film directors injecting surprises into the narrative, but a comatose Jill Schoelen who disappears in the last third of the film is asking for a little trouble. Naturally, the psycho now turns his taunting voice on Kane's Jill but why except to do a reprise of the original film?

Directed by Fred Walton (who also helmed the original), "When A Stranger Calls Back" is purely a thriller exercise with three terrific actors giving the film an infusion of humanity and heart (Jill Schoelen's performance alone rates the film higher than expected which is why, once again, it is shameful to make her character disappear from the story until the last shot). This is no slasher film by any means (the killer played by Gene Lythgow has a certain degree of innocence dripping with rage) - instead it is an absorbing and contemplative suspense thriller but it ends a little too abruptly. Still, there is such a bravura finish in addition to so many other aspects that do work (Durning alone could make any film work just by showing up) that I rate this as a sufficiently scary film despite the loopholes. After all is said and done, though, you come away wishing for more meat in its riveting bones.   

Sinbad wants to get rich quick

HOUSEGUEST (1995)

Reviewed by Jerry Saravia

Sinbad and SNL vet Phil Hartman should strike comic gold in more ways than one. Only "Houseguest" is content with being minimally and evasively funny, not laugh-out-loud funny and not built for comic gold. More like comedy barely skidding on the shaved pieces of slate rock.

Sinbad is Kevin Franklin, a "loser" to some who has borrowed money from the mob and lives for the day he can score some lottery winnings. He also invests in baseball cards that nobody wants and other get-rich-quick-schemes. Since the mob is after him, Kevin pretends to be Derek, a dentist buddy of Gary Young's (Phil Hartman) - Gary is a lawyer in the whitest suburbia you will ever see (even Gary's Edgar-Allan-Poe-loving daughter is about as white as porcelain). Gary has not seen his friend, Derek, in 20-plus-years and looks forward to watching his friend display his gifts for golf, dentistry and tasting elegant wines. Naturally Kevin doesn't possess any of these gifts, nor can he pretend to be vegetarian when the local McDonald's is a few blocks away.

Sinbad is a likable performer with a goofy grin but he has precious few scenes where he can really expand the cliched mistaken identity premise. For one, Sinbad doesn't even closely resemble the dentist he is impersonating, and you wonder why students and faculty from nearby institutions don't just pick one of the books the dentist authored and note the deception. For another, Phil Hartman is not used well here, and the notion that his home life is a wreck and that he can't stand up to his racist boss (Mason Adams) is simply marking time. Kevin is the savior of the family in scenes that are as sappy and falsely emotional as they can get, and he learns to be himself. But the get-rich-quick Kevin we see at the beginning of the movie is a lot more interesting than the sanitized Kevin who feels an obligation to Gary's family. Nothing here you haven't seen before.

"Houseguest" is poorly edited and shaped, with strange mini-dissolves during a golf cart fiasco that goes on way past the tolerable meter and frantically cut chase scenes that serve little to no purpose. The mob characters are played by actors who mug incessantly to the point way past and beyond Italian stereotypes. Kim Griest is the displaced wife of Gary's, so displaced that it looks like many of her scenes were left in the cutting room floor. But there is one of the eeriest and most displaced performances in the movie by Kim Murphy as Gary's daughter, who is searching for her family's love in a manner that belongs to a different movie altogether. Sinbad survives unscathed when the movie is over - the rest might seek comic therapy elsewhere.