talents, but it wasn’t designed for him. It was conceived as a straight-forward Sylvester Stallone vehicle, and it remained that way until just a few weeks before filming began, when Stallone dropped out and Murphy subbed in at the last minute.
The conceit wound up working better with Murphy than it ever could have with Stallone, because as an Eddie Murphy movie, became Eddie Murphy in a Sylvester Stallone movie; he’s as much a fish out of water as Detroit cop Axel Foley is in Beverly Hills.sequel to varying degrees. You can never recreate that friction a second time. Eventually, every outsider becomes an insider.
Even worse, there’s zero comedic tension in their scenes. Axel Foley never stops cracking jokes, assuming different personas, adopting wacky voices — except with his daughter, who is understandably annoyed by her dad’s appearance, but plays all their interactions tediously straight. It’s hard to square this serious woman as the daughter of Axel Foley; every time this subplot comes up, it drags the whole film down.
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