As a long-time movie buff and someone who grew up in the golden age of cinema, I must confess that I was initially skeptical when I heard about the latest addition to the Beverly Hills Cop franchise. Having witnessed firsthand how Hollywood has churned out one disappointing legacy sequel after another over the past decade, I braced myself for yet another tired and formulaic retread. But to my surprise, Axel F turned out to be a delightful throwback that knew exactly how to walk the line between nostalgia and innovation.
Axel F” movie was a nice surprise after enduring numerous disappointing sequels from Hollywood in recent years. While it starts off with several references to the original film and some meta jokes about the franchise, it manages to strike a good balance between updating the story and relying on nostalgia. Eddie Murphy’s character, Axel Foley, continues to charm audiences with his quick wit and charisma, even if some may find his signature laugh grating. The film attempts to address contemporary issues, such as police corruption, but ultimately adheres to the franchise’s formula for its climax, which includes a classic ’80s trope: a freeze-frame ending.
The ’80s didn’t invent the use of freeze-frames; they were already popular long before that decade. As early as 1928, Alfred Hitchcock employed a freeze-frame in his comedy “Champagne” for a scene transition. Additionally, the iconic freeze-frame ending has an extensive history before the ’80s. In “The 400 Blows” (1959) by François Truffaut, the protagonist Antoine Doinel finally achieves his dream of seeing the ocean but is trapped in that moment at the end with the word “FIN” superimposed on his image. Ten years prior, “Butch Cassidy and the Sundance Kid” (1969) immortalized their outlaw heroes by freezing them just before their deaths, instead of depicting their demise as corpses. Hollywood films throughout the ’70s demonstrated the versatility of freeze-frames in various ways, such as Sydney Pollack’s “Three Days of the Condor” (1975), where a freeze-frame adds ambiguity to an otherwise optimistic ending, and “The Taking of Pelham One Two Three” (1974), which uses Walter Matthau’s expression to hint at what follows.
As a movie reviewer in the first person, I’d say: The iconic freeze-frame ending is a defining feature of ’80s blockbusters, deeply rooted in our cultural consciousness. Some might criticize it as an extension of that decade’s materialism and superficiality – Wall Street greed, jingoistic patriotism, and shameless consumerism. The Rocky films are a prime example. In the original (1976), the triumphant freeze-frame was a heartening contrast to the pessimistic endings of ’70s movies. But by the time we got to Rocky IV (1985), Rocky had morphed into an invincible superhero, his final freeze-frame a flag-waving spectacle of ‘roided-up nationalism. Filmmakers in the ’80s explored more subtle uses of this device, like John Hughes. In The Breakfast Club, the defiant fist-raising of John Bender symbolized triumph. And in Planes, Trains & Automobiles, John Candy’s half-smile conveyed genuine joy masking deep pain. Each freeze-frame leaves a lasting impression, serving as a mental shorthand for an entire movie’s emotional journey.
At times, instead, your mind might automatically respond with, “Wow, Axel Foley is amazing!” The initial two “Beverly Hills Cop” films conclude with Axel delivering a witty remark to his partners, Rosewood (Judge Reinhold) and Taggart (John Ashton), prior to driving away, looking back at the camera, and having one of the franchise’s catchy tunes begin as the credits roll. This consistent finale remains engaging (despite the third film’s unique take on it) and keeps you cheering, pondering, “What more will that unconventional guy come up with next?” Such an enthusiastic response is likely what film producers long for when wrapping up a production. In “Axel F,” the narrative adjusts slightly so that Axel, injured, joins Rosewood and Taggart in the car, convincing them to take on another case despite their protests of aging. He manages to win them over, as expected, and we’re treated to a freeze-frame of Axel smiling triumphantly from the backseat with the iconic synthesizer score playing in the background. We’re drawn right back in.
Messiah” could use this approach when wrapping up their stories.
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2024-07-22 19:05