Beverly Hills Cop: Axel F was not created by an algorithm, however you would be forgiven for considering it was. Co-written by Will Beall, co-writer of Dangerous Boys: Journey or Die, and Tom Gormican and Kevin Etten, who wrote The Insufferable Weight of Huge Expertise collectively, this try to revive a franchise that has sat dormant for the previous 30 years goes out of its option to incorporate all of the acquainted issues from the unique three movies.

Lower than a minute into the film, launched solely on Netflix, we hear the saxophone blasts of “The Warmth Is On,” the Glenn Frey hit from the unique Beverly Hills Cop. They’re adopted quickly after by Bob Seger’s “Shakedown” from Beverly Hills Cop II and the Pointer Sisters’ “Neutron Dance,” echoing the primary installment. Within the opening montage, Eddie Murphy, nonetheless working his wide-as-a-superhighway grin as Detroit detective Axel Foley, cruises round his metropolis as photographs of on a regular basis folks on the streets flash by, a blatant callback to the intro that kicked off the franchise.

The massive set piece that follows — an tried theft at a Detroit Pink Wings sport that Axel is decided to foil — will get Axel within the regular hassle along with his superiors. (Paul Reiser, reprising his function as Axel’s onetime associate, Jeffrey, is now chief.) Then Axel learns that two folks he cares about are in potential hazard in L.A.: his estranged daughter, Jane (Taylour Paige of Zola), a legal protection lawyer representing a consumer who could have been framed by corrupt cops, and Billy Rosewood (Decide Reinhold), Axel’s previous buddy who’s additionally entangled in exposing the reality about the identical cops. Sooner than you’ll be able to say Harold Faltermeyer, Axel is again in Beverly Hills, making an attempt to unravel a case that’s one hundred pc exterior of his jurisdiction, seeing as how this man works in Michigan.

It’s the identical plug-and-play plot construction used within the first three movies, which is to say that Beverly Hills Cop: Axel F is fairly formulaic. However then once more, all the Beverly Hills Cop movies are. What made the primary two so profitable — Beverly Hills Cop III shouldn’t be canon in my world — is that additionally they functioned as supply techniques for Murphy’s charms as a complete ham keen to freak out or communicate in a parade of goofy voices for the sake of getting fun. Axel F does that too, however greater than something, it’s a reminder of how enjoyable it may be to observe a Beverly Hills Cop film.

Regardless of its reliance on the acquainted, Axel F truly is basically time, so breezy and insistent on not taking itself too significantly that you could’t even get mad when the dialogue sometimes sounds prefer it obtained pumped out by ChatGPT. “Goddamn it, Foley,” says John Taggart (John Ashton), now the chief of the Beverly Hills Police Division, throughout one of many many instances Axel goes rogue. “Right here we go once more.” Goddamn It, Foley, Right here We Go Once more would have been an ideal title for this film.

Murphy may in all probability play this function in his sleep, however he genuinely appears to be having time doing Axel Foley issues once more, like assuming false identities to get entry to much-needed intel — “I’m Axel Foley, producer of the brand new Liam Neeson revenge thriller, Impound,” he tells an aspiring actor who works at an impound lot — and vamping for the digital camera by singing together with Mary J. Blige or unleashing that trademark smile when the second requires it. (The second requires it fairly usually.)

Axel and Jane’s story line is steeped in contrivance. She harbors deep resentment towards him for caring extra about his work than his personal daughter, which, wow, I’ve by no means heard that one earlier than. However Paige and Murphy handle to infuse their arguments and conversations with sufficient coronary heart to make us imagine their points are actual and distinctive to their relationship.

Whereas the returning actors can experience comfortably on the waves of nostalgia that include reprising their roles — along with Reiser, Reinhold, and Ashton, Bronson Pinchot pops in as Serge, the artsy man with a completely unidentifiable accent — the brand new additions to the Beverly Hills Cop universe slot in fairly seamlessly and provides sturdy performances. That features Paige in addition to Joseph Gordon-Levitt as a Beverly Hills officer who groups up with Murphy; Kevin Bacon as a member of the drive who oozes extreme slickness; and Luis Guzmán in a banger of a cameo as a drug seller whose facial hair is a glittery shade of blue. The best way he permits the road “I’m layered and I’m advanced” to drip languidly off the tip of his tongue is worthy of a standing ovation, even should you’re watching alone in your personal lounge.

In his characteristic directorial debut, Mark Malloy retains issues shifting at a correct clip and demonstrates a dedication to staging automotive chases that destroy a really absurd variety of motor autos, one more throwback to the ’80s and ’90s motion pictures that first launched the collection. He doesn’t do something significantly groundbreaking as a filmmaker, however once more, Beverly Hills Cop: Axel F is explicitly not making an attempt to interrupt new floor. It’s a retread that’s higher than lots of the retreads Hollywood is decided to beam into our pupils, and it’s one more pleasant grownup action-comedy in a summer time that has already given us two: The Fall Man and Hit Man, one other Netflix joint. You may justifiably complain about its flaws, or you’ll be able to settle for them, chill out, and groove on its recycled rhythms.

As Taggart says in one other wholly unoriginal line: “Jesus Christ, some issues by no means change.” Axel F doesn’t need them to, and this film is banking on the truth that Netflix subscribers don’t need that, both.