Movie Review

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Scott Peterson is currently serving life in prison for the murder of his wife, Laci. Photo courtesy of Netflix

Reviewed by Jeffrey Sanzel

The facts are these:

On Christmas Eve 2002, 27-year-old Laci Peterson, eight months pregnant with her first child, disappeared from her home in Modesto, California. Her husband, Scott, claimed to have last seen her at 9:30 a.m. Originally, Scott announced he was golfing but later revealed that he had gone fishing at the Berkeley Marina. When he returned home that afternoon, he found their dog, McKenzie, still leashed in the backyard. After showering and washing his clothes, Scott contacted Laci’s mother to see if Laci was there. Both Scott and Laci’s stepfather reported Laci missing. While investigating, detectives found Laci’s keys, wallet, and sunglasses in her purse and closet.

Scott Peterson is currently serving life in prison for the murder of his wife, Laci.
Photo courtesy of Netflix

Immediately, a massive search was underway. Initially, Laci’s in-laws defended Scott, but as the investigation continued, the police became more suspicious. On Dec. 30, Amber Frey contacted the hotline, revealing that she had been dating Scott since November as she believed he was single. She recorded their conversations over the next month. On Jan. 24, 2003, the information went public.

On April 13, the fetus remains of Conner, Laci’s unborn child, was discovered in San Francisco Bay. The following day, the remains of a woman—later identified as Laci—washed up a mile away from where Conner’s remains were found. The area was just a few miles from where Scott had been fishing.

Police arrested Scott Peterson on April 18 in La Jolla, California. In addition to knives and credit cards (and his brother’s I.D.), Scott had fifteen thousand dollars in cash. He had grown a mustache and beard and dyed his hair.

Scott’s trial began on June 1, 2004, with jury deliberations beginning on Nov. 3. On Nov. 12, Scott was found guilty of first-degree murder for Laci’s death and second-degree murder for Conner’s death. On Dec. 13, the jury recommended the death sentence, which a judge enacted on March 16. After years of appeals and accusations of an unfair trial (2012 to 2015), the death sentence was overturned on Aug. 24, 2020. He was resentenced on Dec. 8, 2021, to life in prison without the possibility of parole.

On Dec. 20, 2023, Scott Peterson’s request for a new trial was denied, and in January 2024, the Los Angeles Innocence Project began its representation of Scott Peterson, claiming that he was innocent.

Since 2002, millions of words have covered the tragic death of Laci Peterson. Thousands of articles and hours of media coverage. The Perfect Husband: The Laci Peterson Story aired on USA Network in 2004. In 2005, CBS broadcast the movie Amber Frey: Witness for the Prosecution. 

The case featured on The E! True Hollywood Story, True Crime with Aphrodite Jones, Murder Made Me Famous, Crime Junkie Podcast, The Laci Peterson Story: A Dateline Investigation, Snapped, Truth and Lies: The Murder of Laci Peterson, How It Really Happened, 48 Hours, 20/20, etc. A&E produced a six-part series, The Murder of Laci Peterson (2017).

Netflix now presents American Murder: Laci Peterson. Directed by Skye Borgman (Girl in the Picture, Abducted in Plain Sight), the three-part documentary offers little new information. It mostly focuses on interviews intercut with archival footage and blurry, slow-motion B-roll recreations. 

Part 1: “What Do You Mean, Missing?” highlights the first six days and establishes the Petersons as the “perfect couple.” Part 2: “I Wasn’t a Mistress” follows Amber Frey, Scott’s girlfriend, as she aids the police by taping their conversations. Part 3: “Nothing Can Change the Truth” takes the story from arrest through trial and conviction.

There is no question that this is a heartbreaking story. Laci’s disappearance and murder was terrible in every respect. However, the point of revisiting the murder is to shed new light and a new perspective. For the most part, American Murder fails to do this. 

Throughout the two-and-a-half hours, the filmmakers fail to address why this particular case grabbed the country’s attention from the first moment. It acknowledges that Scott Peterson was tried on a great deal of circumstantial evidence (no DNA, no witnesses, no definitive weapon) but goes no further, emphasizing his disturbing behavior and questionable personality. It almost celebrates the mob mentality at the announcement of the verdict. It also never addresses the Innocence Project taking up his case, suggesting that Laci was murdered by the burglars of the neighbor’s house. In short, the documentary leans into ominous chords, peripatetic cuts, and eerie images.

For the most part, the interviews add little insight. The detectives revisit the same material and perspectives. Journalist Gloria Gomez speaks of the media frenzy but takes no responsibility for being part of that circus. There is an uncomfortable interview with two of the jurors that offers little perspective. 

The one powerful throughline is Laci’s mother, Sharon Rocha. While reliving this is painful, she maintains dignity and clarity. She divides her life between before Laci and after Laci and knows that this changed everybody’s lives. One of the last things she states is, “You don’t get over it; you just get through it.” Her interview is the most valuable part of the documentary.

On Aug. 20, Peacock presents Face to Face with Scott Peterson, featuring his first interview in decades. Undoubtedly, this will be a different perspective, emphasizing alternate theories. 

Stepping back from pure objectivity, Scott Peterson was a liar, a cheat, a narcissist, and most likely murdered his wife, Laci, a kind, gentle person. Like any victim of a violent crime, her story deserves and needs to be told—but always with integrity, sensitivity, and raw honesty. Unfortunately, American Murder does not rise to this standard.

The three-part documentary is currently streaming on Netflix.

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Fathom Events and Universal Pictures celebrate the 70th anniversary of Alfred Hitchcock’s landmark 1954 thriller Rear Window by bringing it back to select theaters nationwide on Sunday, Aug. 25 and Wednesday, Aug. 28.

The film tells the gripping story of a recuperating photographer (James Stewart) who suspects his neighbor may be a murderer. As the mystery develops, he enlists his girlfriend (Grace Kelly) to help him investigate and piece together the clues as they race to bring the full picture into focus.

Rear Window was nominated for four Academy Awards®, including Best Director and Best Screenplay, and boasts a talented ensemble that also includes Raymond Burr, Thelma Ritter, and Wendell Corey.

Each screening features an exclusive introduction by film legend Leonard Maltin, giving viewers an in-depth look at the iconic film that was famously heralded as “The Essential Hitchcock.”

Locally the film will be screened at AMC Loews Stony Brook 17, Island 16: Cinema de Lux in Holtsville, Showcase Cinema de Lux in Farmingdale and Regal UA in Farmingdale. 

Up next is Blazing Saddles (50th anniversary) on Sept. 15 and 18, The Matrix (25th anniversary), Super/Man: The Christopher Reeve Story on Sept. 21 and 25, and Mean Girls (20th anniversary) on Oct. 3 and 6. 

For times and to purchase tickets in advance, visit www.fathomevents.com.

Blake Lively and Justin Baldoni in a scene from the film. Photo courtesy of Sony Pictures Entertainment

Reviewed by Jeffrey Sanzel

Colleen Hoover’s romance novel It Ends with Us, released in 2016, drew inspiration from her complicated family history. By 2019, the book sold over a million copies and was translated into over twenty languages. In 2021, the novel and Hoover’s other works gained renewed popularity from the #BookTok on TikTok. In 2022, It Ends with Us reached number one on both The New York Times and Publishers Weekly bestsellers lists, with nearly three million in print. The sequel, It Starts with Us (2018), became Simon & Schuster’s most pre-ordered book ever. (In full disclosure, this reviewer has read neither.)

Blake Lively in a scene from the film. Photo courtesy of Sony Pictures Entertainment

Justin Baldoni (best known as Jane the Virgin’s Rafael Solana) directs his third film, following Five Feet Apart and Clouds. Christy Hall, the director/screenwriter of Daddio and co-creator of the Netflix series I Am Not Okay with This, penned the adaptation. 

The writer and humorist Dorothy Parker once wrote of how often people would say: “Well, you might like it.”

Lily Blossom Bloom (Blake Lively) reluctantly attends her father’s funeral, where she attempts to deliver a heartfelt eulogy. Unable to say anything positive, she flees the church and returns to Boston. Contemplating life out on a random roof (unexplained), Ryle Kincaid (Justin Baldoni) enters in a rage, kicking a chair. Anger management issues, perhaps? Warning signs? He reveals he is a neurosurgeon who just lost a patient. This claim is much more complicated, revealed later in the narrative.

The emotionally elusive Lily and the player Ryle meet cute(ish). “Love isn’t for me; lust is nice,” he confesses. They embark on a friendship that is quickly aborted when Ryle leaves for emergency surgery. Lily opens her dream flower shop and meets quirky Allysa (Jenny Slate), who hires herself to work for Lily. The “twist” is Ryle is Allysa’s brother. Lily and Ryle rekindle the friendship, which shifts to passion. A generic build-up results in an unintentionally sparkless kiss. Love follows, ending up with marriage. 

Through flashbacks, the filmmakers reveal Lily’s father (Kevin McKidd) abusing her mother (Amy Morton). Additionally, high school student Lily (Isabela Ferrer) falls in love with a homeless boy, Atlas (Alex Neustaedter). Thrown out by his mother, Atlas bided his time until he could enter the military. 

In the present, Lily and Ryle coincidentally dine at Root, the restaurant the adult Atlas (Brandon Sklenar) opened upon completing his service. A love triangle results in jealous and violent reactions from Ryle, eroding the already tenuous bond. 

While little new is on offer, It Ends with Us contains enough plot and potential dynamic to make for a passable film. Unfortunately, the characters are so oddly and unevenly drawn that it feels simultaneously repetitive and confusing, as if the story was told over a soundtrack of white noise. The leaden pace emphasizes the clumsy dialogue composed of sentence fragments: “Uh … uhm … okay, okay … sure … yeah … okay. Yes.” Lily describes herself as an unreliable narrator—an intriguing concept if it were true. However, she seems to be almost unimpeachably upfront. 

The entire film seems to be what-you-see-is-what-you-get, down to the predictable montages: “Let’s go have fun” (karaoke and bowling), dating, and cleaning up the shop. Everything plays excruciatingly by the numbers. 

It Ends with Us is a meditation and—appropriately—an indictment of abuse. Eventually, it gets to the point but still pulls its punches. Just as with its whitewashed portrait of Atlas’s homelessness, the approach is facile and softens what should be even sharper and more brutal. The idea that we hurt the ones we love hovers in the background. 

One moment rises above the rest. After Ryle and Atlas lock horns, the next scene teams with raw desperation and emotional confusion. After this, it’s back to business as usual. The story’s final resolution is fair, uncompromising, but unsurprising. 

Lively is a solid actor and always watchable, but the forced layers of faux mystery do not help. Between the incomplete sentences and the nervous laugh, the character is less than indelible. Baldoni tries to balance Ryle’s two sides, but neither is fully realized. Unfortunately for Sklenar, he is saddled with the least variety. Slate’s Allysa is no different from her career’s other oddballs. As Lily’s mother, Morton is capable but uncomfortable. These are strong actors, but the material fails to reach their level. One bright spot is Ferrer, who captures the essence of Lively’s grown-up Lily; it is rare for two actors to assume a role at different points in their lives and truly seem like one person. 

The above opinion will most likely end up in the minority. The film grossed seven million dollars in its Wednesday and Thursday previews and is well on its way to a possible forty million dollar opening weekend. As with the novel, the story will satisfy most viewers. Just not this one.

Rated PG-13, the film is playing in local theaters.

The Robert David Lion Gardiner Foundation has announced it has granted $1 million to the PBS Foundation, the philanthropic arm of the Public Broadcast System (PBS), in support of PBS’s historical documentary series American Experience.”

The grant will bolster the 35-year-old award-winning program’s operating budget, supporting its television broadcast as well as the online streaming of the series made available to classrooms across the United States through PBS LearningMedia, a free online resource. With the latest grant, the Gardiner Foundation has contributed $3 million to PBS since 2017.

“As America’s home for documentary storytelling, PBS is committed to shining a light on untold stories and examining our shared past,” said PBS president Paula Kerger. “We could not be more grateful to Robert David Lion Gardiner Foundation for its generous support of this important work and for bringing viewers across the country more of the award-winning storytelling that has made American Experience America’s most-watched history series.”

ABOUT THE ROBERT DAVID LION GARDINER FOUNDATION

The mission of the Foundation is to educate, cultivate and encourage the study and understanding of Long Island and New York’s historic role in the American experience. The Foundation also supports scholarships and historic preservation, including study, stewardship and promotion of Long Island’s historic educational aspects.

The Foundation was established by Robert David Lion Gardiner in 1987. Robert David Lion Gardiner was, until his death in August 2004, the 16th Lord of the Manor of Gardiner’s Island, NY. The Island was obtained as part of a royal grant from King Charles I of England in 1639. The Gardiner family and their descendants have owned Gardiner’s Island for 385 years. The Island remains private and is owned and maintained by direct Gardiner descendants to this day. The Robert David Lion Gardiner Foundation remains inspired by Robert David Lion Gardiner’s personal passion for Long Island and New York history. Since 2015, the Foundation has awarded over $45 million to support historical societies, museums, archives, research, scholarships and renovation, restoration and adaptive reuse of historic sites.

Josh Hartnett and Ariel Donoghue star in 'Trap.' Photo courtesy of Warner Bros. Studio

Reviewed by Jeffrey Sanzel

Will it have the craft of The Sixth Sense? The clumsy mess that was Lady in the Water? Or the true horror of the disastrous Old? Few directors inspire the puzzling mix of hope, disappointment, and divisiveness than M. Night Shyamalan. As the director, producer, and screenwriter, the king of the “twist” must take complete responsibility for his work.

His newest film, Trap, focuses on firefighter Cooper Adams (Josh Hartnett), who happens to be a serial killer dubbed “The Butcher.” Cooper takes his daughter, Riley (Ariel Donoghue), to a Lady Raven (Saleka Shyamalan) concert as a reward for her stellar report card. With a massive police presence, Cooper quickly learns that, somehow, law enforcement knows he is attending the concert. Under the guidance of Dr. Josephine Grant (Hayley Mills), an FBI profiler, every man of a certain age and type will be checked before they can leave the arena.

The premise is simplistic but not without interest. A concert setting is naturally charged—a closed universe of organized chaos—screaming teen fans, food counters, and a warren of dressing rooms, storerooms, and connecting doors. The scenario and location open a world of possibilities. Unfortunately, Trap fails to spring, plodding and creaking as the resourceful Cooper evades capture in a series of “close calls.” 

Eventually, Trap builds to a half dozen false endings, one more predictable than the last. The film’s minimal tension escapes like the air from a bicycle tire (a specifically selected metaphor). The Oedipal layer to the killer’s motivation has played in myriad films since the 1970s, and the revelation lands with a thud.

Hartnett (exceptional in last year’s Oppenheimer) seems to be vying for the Most Excruciatingly Goofy Dad Award in a performance of painful grimaces, pasted grins, and “gosh-heck” incredulity. He punctuates every line with a waggle of the eyebrows that would make Groucho blush. In the opening moments, his daughter urges him to drive faster so they do not miss the opportunity to glimpse Lady Raven leaving her tour bus. He responds that they do not want to break any laws:  “Trust me.” The aggressive lack of subtlety is almost impressive. Riley comments more than once, “You’re acting strange, Dad.” Strange acting, indeed. 

Hartnett and company are failed by a script composed solely of cliches. A subplot about a mean girl, Jody, who has been freezing out Riley, amounts to several shrill exchanges between Cooper and the girl’s mother (Marnie McPhail). After Cooper manipulates Lady Raven’s uncle and promoter (M. Night Shyamalan), Riley goes onstage as Lady Raven’s “Dream Girl.” Outraged by her peer’s opportunity, we glimpse Jody throwing a cup of soda in her mother’s face. 

Alison Pill is a strong actor but does not appear until the final act when she takes the mantle of clueless wife. Even with the character’s few extra shades, she cannot rescue the absence of surprise and dimension. 

The concert portions are grating. In another film, the director might comment on pop culture’s empty self-indulgence and repetitive nature. However, one suspects Shyamalan is showcasing his daughter’s singing career. (Social media also helps to save the day.) As an actor, Saleka is decent, but like Pill, given few notes to play. As for Jonathan Langdon’s duped t-shirt seller, Jamie—the stereotype borders on offensive, especially in the film’s tag. Hayley Mills’ Dr. Grant amounts to an extended cameo, but she lends a hint of gravitas with her rich voice and regal bearing. 

Shyamalan populates the world with enough police and SWAT extras to fill a Batman franchise. Visually, the shots are strangely static, often screaming, “Look here—he’s going to do something clever.” He liberally “borrowed” elements from The Hitcher, Silence of the Lambs, Dressed to Kill, Dexter, and even A Clockwork Orange. 

In particular, he saddled Hartnett with elements of these famous psychopaths but then directed him to play Cooper with the vigor of a middle school Thanksgiving pageant. Trap is less Hitchcock and more Parent Trap. 

Fool me once, shame on you; fool me twice, shame on me. Fool the moviegoing public repeatedly—Shyamalan on all of us.

Rated PG-13, the film is now playing in local theaters.

Peter O'Toole stars in 'Lawrence of Arabia.' Photo courtesy of Fathom Events

Fathom Events and Columbia Pictures celebrate the studio’s 100th anniversary with select screenings nationwide of the groundbreaking adventure epic Lawrence Of Arabia, on Sunday, Aug 11 and Monday, Aug. 12. 

The screenings will include the exclusive “Columbia 100 Celebration” featurette, putting the spotlight on a century of world-class cinema spanning across the industry powerhouse’s illustrious past to its promising present.

Heralded as Columbia Pictures’ most-celebrated film, Lawrence Of Arabia is the winner of seven Academy Awards®—including Best Picture of 1962—and remains one of the most timeless and essential motion picture masterpieces. Considered the greatest achievement of its Oscar®-winning auteur director, David Lean (The Bridge on the River Kwai), the film introduced Peter O’Toole in his career-making performance as T.E. Lawrence, the audacious World War I British army officer who heroically united rival Arab desert tribes and led them to war against the mighty Turkish Empire.

The film also took home Oscars® for Best Cinematography and Best Score, among others, and boasts the talented ensemble of Alec Guinness, Anthony Quinn, Jack Hawkins, Jose Ferrer, Anthony Quayle, Claude Rains, Arthur Kennedy with Omar Sharif as “Ali”. Produced by the legendary Sam Spiegel, the film’s screenplay is by Robert Bolt and Michael Wilson.

Each Fathom screening of the film will be presented in the acclaimed 2012 version, brilliantly restored in 4K to its complete 224-minute version.

Exclusive to the Fathom screenings will be the special feature “Peter O’Toole Revisits Lawrence Of Arabia,” an intimate retrospective that finds the esteemed leading man reflecting not only on the role that would leave an indelible mark on his life and career, but on the history of film, itself.

Locally the film will be screened at AMC Loews Stony Brook 17, Island 16 Cinema de Lux in Holtsville and Showcase Cinema de Lux in Farmingdale. To view times and to purchase tickets in advance, visit www.fathomevents.com.

TAKE A BOW: Above, the winners of this year's Stony Brook Film Festival, from left, Daniel Rashid and Reilly Anspaugh (Chauncey), Tathagata Ghosh (If), Zach Finger (Mimesis), Axel Dahan (On the Paths Awakened), Ryan Ward and Mackenzie Leigh (Daughter of the Sun), Bradley Gallo (Audrey’s Children), Mediha Alhamad (Mediha), and Barnabas Toth (Mastergame). Photo from Staller Center

The 29th annual Stony Brook Film Festival, presented by Island Federal Credit Union, wrapped up with its closing night awards ceremony on July 27.  The evening recognized the outstanding new independent films screened at the festival, which was held at Staller Center for the Arts at Stony Brook University from July 18 to 27.

This year’s festival brought together hundreds of directors and filmmakers and featured 36 films from 19 countries of which 13 standouts received awards. 

GRAND PRIZE WINNER
Mediha Alhamad, the subject and co-writer of the Grand Prize Award-winning ‘Mediha,’ with festival director Alan Inkles. Photo from Staller Center

Mediha took home the Grand Prize Award. Directed by Hasan Oswald, this masterful documentary chronicles the journey of a young Yazidi girl returning from ISIS captivity. Using her camera to process her trauma, she documents her experience while rescuers continue to search for her missing family members. The Grand Prize is given to films that have ‘wowed’ both the audience and the jury beyond what could be contained in the simple phrase ‘best film’ in this or that category. Mediha is the 11th film in the festival’s 29-year history that has received a Grand Prize and only the second time awarded to a Documentary Film. 

Two short films won the audience’s hearts, resulting in a tie for this year’s Audience Choice Award for Best Short. The winners for this category included two of the youngest filmmakers to win an award in the 29-year festival history. Mimesis, a drama about a struggling alcoholic actor who finds solace in an audition for the role of therapist, and On the Paths Awakened, a WWII-era story of two French teens facing intimate conflicts as the resistance recruits them. The festival’s youngest filmmakers directed the two winning short films: 20-year-old Zach Finger from Long Island and 19-year-old Axel Dahan from France.

One feature that truly captivated the audience was Running on Sand, which took home the Audience Choice Award for Best Feature. Adar Shafran directed this heartfelt crowd-pleaser about a refugee from Israel who, facing imminent deportation, is mistakenly identified as a Nigerian soccer star at the airport. The film highlights the precariousness of refugees’ lives, the power of second chances, and the complex intersections of identity and survival. 

The Spirit of Independent Filmmaking Award is for filmmakers who use a distinct indie perspective to bring their stories to life vividly. It is reserved for filmmakers who have created a standout film with very few resources, financial or otherwise. “When it looks and sounds great, plays great, creates its own world, and you would never suspect how hard the filmmakers worked to bring it to life on screen, then you’re watching the kind of film we give these awards to,” said Festival Programmer, Kent Marks. 

Daughter of the Sun secured the honor of this year’s award. This vintage-feeling, breathtaking fantasy tells the story of a man with Tourette’s Syndrome and supernatural powers and his 12-year-old daughter navigating life on the run.

The festival also announced that one of the films received an especially rare award in the 2024 Dr. Gabriel Sara Humanitarian Award. In 2022, the Stony Brook Film Festival created an inaugural prize in honor of Dr. Gabriel Sara, who worked wonders in cancer at Mount Sinai in New York by treating patients with dignity through song, dance, and teaming up with some of the most caring individuals in healthcare. He went on to play a role not unlike himself in the film opposite Catherine Deneuve. 

This year, the festival hosted a non-competing sneak preview of the film. Titled Audrey’s Children, it tells the story of Dr. Audrey Evans, who brought new treatments to pediatric cancer patients in the U.S. and went on to co-found The Ronald McDonald House. 

The Jury Award for Best Short went to Where We Belong, the Jury Award for Directing given to Mastergame, and the Jury Award for Best Feature went to The Strangers’ Case. (To listen to a podcast interview with The Strangers’ Case writer and director Brandt Andersen with TBR News Media reporter Daniel Dunaief, visit www.tbrnewsmedia.com.)

Mastergame director Barnabás Toth, who attended the awards ceremony, said, “Being here as a filmmaker is special. Coming here is like a therapy, a cure for any kind of artist because people who create are appreciated here. So please continue to keep it that way.”

The Festival’s Opening and Closing Night Feature and Short films were also recognized, including Director Aexandre Arcady of The Blond Boy From the Casbah (Opening Night Feature), Christopher Doll, Director/Producer and Karoline Herfurth, actress of One Million Minutes (Closing Night Feature), Daniel Rashid, Director of Chauncey (Opening Night Short), and Tathagata Gosh, Director of If (Closing Night Short). 

In addition to Island Federal’s generous support as presenting sponsor, additional sponsors for the Stony Brook Film Festival included News 12 Long Island; Campolo, Middleton & McCormick, LLP; Suffolk Arts and Film; Strata Alliance; and WLIW/PBS.

UPDATE: “The Strangers’ Case” won the Jury Award for Best Feature at the Stony Brook Film Festival.

TBR News Media reporter Daniel Dunaief recently spoke with Brandt Andersen, writer and director of the film “The Strangers’ Case,” about five families in four countries who are confronting the refugee crisis. Andersen will attend a screening of his feature film directorial debut at the Stony Brook Film Festival on July 20th at the Staller Center.

Listen to the episode now.

From left, John Ashton, Eddie Murphy and Judge Reinhold reunite in the fourth installment of Beverly Hills Cop. Photo courtesy of Netflix

Reviewed by Jeffrey Sanzel

Beverly Hills Cop (1984) introduced Eddie Murphy’s Axel Foley, the street-smart Detroit detective who comes to Beverly Hills to solve the murder of his best friend. The blockbuster won the People’s Choice Award for Favorite Motion Picture, along with nominations for a Golden Globe for Best Motion Picture and an Academy Award for Best Original Screenplay. More importantly, Murphy garnered a nomination for the Best Actor Golden Globe. His two previous films—48 Hours (1982) and Trading Places (1983)—made the stand-up comic a household name. Beverly Hills Cop made him a superstar. 

Two sequels followed: Beverly Hills Cop II (1987) and Beverly Hills Cop III (1994). After several aborted attempts at a new installment (including a television series), Netflix presents Beverly Hills Cop: Axel F.  Murphy is joined by Judge Reinhold, John Ashton, Paul Reiser, and Bronson Pinchot, reprising their roles from previous films in the series, joined by Joseph Gordon-Levitt, Taylour Paige, and Kevin Bacon. Mark Molloy makes his feature film debut, directing the serviceable screenplay by Will Beall, Tom Gormican, and Kevin Etten. 

The film opens in Detroit, where Axel (Murphy) stops a changing room theft during a Red Wings hockey game. This leads to the first of many of the film’s car chases—here with Axel driving a city snowplow. After the usual dressing down at the station, Axel receives a call from cop-turned-private investigator Billy Rosewood (Reinhold), who is pursuing a case involving a young man (Damien Diaz) framed for a cop’s murder. The boy, a drug mule, is the nephew of a cocaine trafficker (a flamboyant Luis Guzmán). Foley’s estranged daughter, Jane (Taylour Page), represents the young man, but powers-that-be threaten Jane, leading Billy to reach out to Foley, who gets on the next plane.

His first drive through Beverly Hills effectively contrasts with the Detroit opening, emphasizing Axel’s fish-out-of-water vibe. Like the entire movie, it does not aim for subtlety but makes its point about California’s mecca of facades. (There seem to be myriad pampered canines whose presence permeates restaurants, cars, and sidewalks.) A predictable but wholly enjoyable action comedy follows with the requisite number of car chases, shootouts, and generic hoodlums. At the center is a corruption ring led by a dirty cop, Captain Grant (Kevin Bacon, in a performance that seems lifted from Gotham City). The entire plot hinges on a missing SD card and a page Axel rips from a calendar. 

Beverly Hills Cop: Axel Foley works because Murphy is not just in his element but is at home. Unlike in 2021’s painfully misguided Coming 2 America, the ageless actor easily lands every joke, quip, and aside. The writers crafted the screenplay to Murphy’s style, ably balancing the comedic with the human. After being arrested following the commandeering of a parking patrol vehicle, he shrugs, “I’ve been a cop for thirty years and black for a whole lot longer.” His response is smart, funny, and to the point—which describes the entire film.

One of the best moments is his reunion with Jane. After a beat, he says, “It is extremely good to see you.” The usually comical Axel is stiff and formal. His face registers a mix of pain, loss, and joy—but above all, a palatable discomfort, one of the most complex emotions to signal. The gifted Murphy shows himself as a great actor, infusing a single glance with a lifetime of regret. The lone “swashbuckler,” married to his job, yearns to know his only child. 

Finally, Murphy is one of the great cinematic scene partners. He not only connects but elevates the supporting cast. His rapport with Page is equal but wholly different from his wonderful work with Reinhold. While many stars seem to pull complete focus, Murphy allows us to see the other characters fully develop through Axel’s eyes. Page evokes a strong and human Jane—clearly her father’s daughter. Their scenes spark adversarial energy, underlaid with the need to connect. 

Newcomer Gordon-Levitt balances the snark and the concern in Jane’s ex-boyfriend, Bobby Abbott. While initially bland, he manages to grow the detective’s dimensions. The returning entourage makes the brief appearances work within the confines of some of the creakier writing: Reinhold is a mix of charm and caring. Ashton’s ulcerated Chief John Taggart is a blend of crusty and caring. Reiser’s retiring Deputy Chief Jeffrey Friedman is long-suffering and caring. Pinchot’s Serge is over-the-top and caring (if shockingly politically incorrect for 2024). 

Beverly Hills Cop: Axel Foley is a film with no surprises. There are no twists and no revelations. Even the refrain “a child is always the child, and a parent is always the parent” is not just projected but stated repeatedly. However, the thematic sentiment does not detract from a well-paced and thoroughly enjoyable two hours. In June, Murphy and Jerry Bruckheimer announced a fifth Beverly Hills Cop. If they can maintain the charm and energy of Axel Foley, it is worth the anticipation.

Rated R, the film is now playing in local theaters.

By Daniel Dunaief

Paula S. Apsell wants to correct one of the more insidious myths about Jews during the Holocaust.

Director Paula S. Apsell

The award-winning filmmaker is showing the documentary Resistance – They Fought Back at the Cinema Arts Centre in Huntington on July 25, offering numerous examples of Jews who fought against the murderous Nazi regime.

The film from Apsell, who will be at the Cinema Arts Centre screening to speak with the audience, chronicles resistance in many forms, from getting married in secret, to having children, to holding concerts, to caring for the poor, to smuggling food and weapons into ghettos and, ultimately, to guerilla combat.

These stories of courage and a readiness to fight back when any form of resistance could mean severe punishment or death not just for the person rebelling but for many others paint a completely different picture than the one in which Jews surrendered meekly to their fate.

“There were seven rebellions in death camps, and six of them were led by Jews,” said Apsell, who won numerous awards as executive producer for PBS NOVA films. “They still mustered the courage to rebel knowing they would die in the rebellion” and almost all of them did.

The survival rate among Jews in general and those who the Germans found were rebelling, which includes many in their late teens and early 20’s who were fighting to protect and defend their families, was low.

While she was an executive producer at PBS for the Nova science series in 2016, Apsell traveled to Lithuania near Vilnius, where she produced a documentary for PBS about Jews who were brought to a site to burn the bodies of thousands of other Jews whom the Nazis had murdered.

At night with shackles on, they used spoons to dig a tunnel over the course of 76 days. When they escaped, they filed off their shackles and raced towards a forest, with 11 of them surviving through the rest of the war.

Building on this story, Apsell, who worked with Lone Wolf Media and co-directed the documentary with Kirk Wolfinger, started gathering information for the Resistance film in 2019 and completed editing the movie in September of 2023.

Apsell, who herself is conservative about what she shares with her eight and 11-year old grandchildren, suggested the documentary is appropriate for juniors in high school or older, unless they have had some level of education about the Holocaust.

Compelling lives

Amid the many stories of courage and sacrifice, Apsell felt a particular connection with Bela Hazan.

A courier who brought information, money and weapons to the ghettos, Hazan posed as a Polish Christian woman and traveled along dangerous roads surrounded by Nazis who would imprison, torture or kill her if they knew of her work.

After Hazan survived the dangers of the war, her son Yoel Yaari, who hadn’t heard of his mother’s wartime activities, found two notebooks containing details about her work.

Yaari, who is the Henri and Erna Leif Professor for Research in Neurodegenerative Diseases at the Hebrew University Faculty of Medicine in Jerusalem, has told people through articles and his book “Portrait of a Woman” about his mother’s “astounding courage and what she had done for the Jewish people,” said Apsell. “We can all learn about courage in adversity.”

Apsell suggested that scholars knew about the way Jews had resisted, but that lay audiences often say they thought Jews went to their death as sheep to the slaughter.

Other ways to watch the film

Apsell is in the final stages of putting together a broadcast deal, which she hopes will be ready in January to coincide with Holocaust Remembrance Day, which is on January 27.

She also plans to work with organizations that have relationships with schools and libraries so students can access the information.

These stories “ought to be a much more visible part of the history of the Holocaust,” she said.

“I had a mission to tell these stories,” Apsell said. “I felt like it was a personal commitment and a responsibility” to share these stories.

While Apsell appreciates and acknowledges that people who weren’t Jewish helped their Jewish friends, neighbors and even strangers, she felt like the focus on resistance has often been on outside help.

“In this film, my emphasis was on Jews rescuing other Jews,” she said.

The film includes interviews with five Jewish survivors who were among the resistance fighters. Resistance also uses considerable archival footage from organizations that had recorded interviews. The film’s narrators include actors Corey Stoll, Dianna Agron and Maggie Siff.

Dr. Jud Newborn, lecturer, author and curator at the Cinema Arts Centre, had an immediate reaction when he viewed the film.

“I was stunned,” said Newborn, who is an expert on Jewish anti-Nazi resistance and served as the founding historian of New York’s Museum of Jewish Heritage. “No documentary covers the panoply of Jewish resistance in its many forms and in such a moving as well as revelatory manner.”

Newborn, who will host a discussion with Apsell right after the screening, added that he thought this was a “groundbreaking film.”

While Newborn describes all manner of Jewish resistance in his multimedia lecture programs, he learned new stories because the movie pulls together “the most cutting edge information,” he said. “The subject of Jewish resistance breaks stereotypes and is deeply inspiring and energizing and it’s also deeply moving because they had to overcome obstacles unlike any people under Nazi occupation or indirect rule.”

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The Cinema Arts Centre, 423 Park Ave., Huntington will screen Resistance – They Fought Back on Thursday, July 25 at 7:15 p.m. with filmmaker Paula S. Apsell in person followed by discussion with moderator Dr. Jud Newborn. Tickets are $18 per person in advance at  www.cinemaartscentre.org or at the box office.  For more information, please call 631-423-7610.