The Pickup (2025), directed by Tim Story, is an action-comedy that promises high-octane thrills and laughs with a star-studded cast featuring Eddie Murphy, Pete Davidson, and Keke Palmer. Unfortunately, this Amazon Prime Video release falls flat, squandering its talented ensemble and premise with a lackluster script and uneven execution.
The film follows Russell Pierce (Eddie Murphy), a veteran armored truck driver nearing retirement, who is paired with Travis Stolly (Pete Davidson), a bumbling rookie with dreams of becoming a police officer. Their routine cash pickup takes a chaotic turn when they’re ambushed by a criminal crew led by the cunning Zoe (Keke Palmer). What starts as a simple heist spirals into a series of chases and convoluted twists, revealing that the truck’s cargo isn’t just cash but contraband with bigger implications. As Russell and Travis navigate danger, their clashing personalities and Zoe’s shifting motives drive the story to a messy conclusion.
Eddie Murphy, once a titan of action-comedy in films like 48 Hrs. and Beverly Hills Cop, feels oddly subdued as Russell. His performance leans heavily on exasperation rather than the sharp wit and charisma that defined his earlier work. At 64, Murphy seems disengaged, delivering lines with minimal energy and relying on occasional ad-libs that fail to spark. It’s a stark contrast to his recent success in Beverly Hills Cop: Axel F (2024), where he recaptured some of his old magic.
Pete Davidson fares better as Travis, bringing his signature goofy charm and millennial sarcasm to the role. His comedic timing generates a few genuine laughs, particularly in scenes where he’s flustered by Zoe’s seduction or bickering with Russell. However, the script saddles him with juvenile gags that grow repetitive, and his character’s quirks—like being a math whiz or a failed cop—feel underdeveloped and irrelevant to the plot.
Keke Palmer is the film’s brightest spot, infusing Zoe with natural charisma and a commanding presence. Despite being saddled with a thinly written antihero arc, complete with a cliched backstory about sticking it to the system, Palmer’s warmth and screen presence keep her scenes engaging. Yet, even she can’t salvage the illogical romantic subplot with Travis, which strains believability despite her best efforts.
Supporting players like Eva Longoria, as Russell’s wife Natalie, and Andrew Dice Clay, as their gruff boss, are underutilized. Longoria brings grounded humor to her limited scenes, but the script gives her little to work with. Marshawn Lynch’s brief cameo as a money-laundering crook steals a laugh, but his minimal screen time is a missed opportunity.
Director Tim Story, known for Barbershop and The Blackening, struggles to balance the film’s action and comedy elements. The action sequences—car chases, shootouts, and dye-pack explosions—are competently staged but lack tension or stakes due to inconsistent logic and physics-defying moments (e.g., characters surviving fire unscathed after being doused in gasoline). The comedy, meanwhile, feels sparse, with most jokes falling flat due to a script by Kevin Burrows and Matt Mider that prioritizes generic action over sharp humor.
The screenplay is a major weak point, recycling tired buddy-cop tropes without adding fresh spins. The dynamic between Russell and Travis echoes 48 Hrs. but lacks the spark of Murphy’s earlier pairing with Nick Nolte. Zoe’s heist plan and motivations are muddled, and the film’s attempts at social commentary about capitalism feel half-hearted and tacked on. At 94 minutes, the runtime is mercifully short, but it still feels dragged out by a predictable third act.
Visually, The Pickup is flat, with a made-for-streaming aesthetic that screams low budget. The cinematography by Larry Blanford is serviceable but uninspired, and the explosion effects look cheap, undermining the action’s impact. The editing by Craig Alpert is choppy, particularly in transitions between comedy and action, contributing to the film’s tonal confusion. A small highlight is the soundtrack’s nod to Beverly Hills Cop with the Pointer Sisters’ “Neutron Dance,” but it’s more nostalgic than effective.
The Pickup is a textbook case of wasted potential. With a cast as talented as Murphy, Davidson, and Palmer, the film should have been a slam-dunk for fans of action-comedies. Instead, it’s a forgettable, formulaic slog that fails to capitalize on its stars’ chemistry or the genre’s possibilities. While it’s not as dire as Murphy’s infamous flops like Norbit or A Thousand Words, it ranks among his weakest recent efforts. For a lazy Sunday stream, it might pass as background noise, but there’s little here to recommend over better alternatives.
Skip it unless you’re a die-hard fan of the cast. Watch Beverly Hills Cop: Axel F or The Blackening for a better dose of Murphy or Story’s talents.
