Nick Adams_

I saw the first three as they came out. Like everyone I liked the first and second and hated the third. Not cinematic milestones, but effective entertainment and Eddie Murphy has chemistry.

I am not going to debate how this one ranks compared to the two good ones, but it's up there. The plot doesn't matter (like always), but there are car chases, gun fights, general mayhem and Axel F is back in Beverly Hills.

Perhaps this is the part of the franchise that I enjoyed the most.

If you're to young to know the two first ones you can probably sit this one out, but if Beverly Hills Cop was a part of your youth it's a trip down memory lane that actually feels like the memories and not just dusty and stale.

A nice little film with really good actors, which, for the most part, succeeds in bringing Stine Pilgaard's new classic to the screen.

The film works best when it sticks to the original material and fairly directly translates the book to the screen. However, during the periods when it tries to be a broader, classic Danish comedy (the cast is largely the same as in 'Badehotellet'), I feel it falls somewhere in between. Although the original book is short in text, it contains quite extensive individual episodes, and in a film adaptation, choices must be made about which ones to include.

I could have used more of the original elements, but on the other hand, I don't need the story of how the couple arrives at the boarding school or an 'uplifting' ending beyond what's in the book. And while the dance scene in 'Den eneste ene' (The One and Only) may be a part of Danish film history, there's no need to replicate it here.

Sylvester Stallone's career has always relied on his instinct for great scripts. That hasn't changed.

This series follows an aged New York mobster, recently released from prison, who discovers that the world has moved on and both his biological and criminal families have abandoned him. He is sent to Tulsa with the guise of establishing a new syndicate, but in reality, it's a place of exile where he is expected to quietly meet his end.

However, the old man refuses to let life slip away, finding ways to apply his criminal skills in a new city and era.

The script aims to capture the essence of Elmore Leonard's style, but falls short in some respects. It forges its own path, offering comedic relief that doesn't quite match Leonard's average humor. Nevertheless, this script invests more in its characters than Leonard typically does. The backdrop is well-crafted, and the major players are sufficiently developed to spark interest in their future journeys. Stallone's performance is exceptional, a blend of John Rambo and Vito Corleone, and the supporting cast is equally impressive.