Beverly Hills Cop: Axel F was not created by an algorithm, however you may be forgiven for considering it was. Co-written by Will Beall, co-writer of Dangerous Boys: Trip or Die, and Tom Gormican and Kevin Etten, who wrote The Insufferable Weight of Huge Expertise collectively, this try and revive a franchise that has sat dormant for the previous 30 years goes out of its technique 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 photos of on a regular basis individuals 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 set to foil — will get Axel within the typical bother along with his superiors. (Paul Reiser, reprising his position as Axel’s onetime accomplice, Jeffrey, is now chief.) Then Axel learns that two individuals he cares about are in potential hazard in L.A.: his estranged daughter, Jane (Taylour Paige of Zola), a felony protection lawyer representing a shopper who might 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. Quicker than you’ll be able to say Harold Faltermeyer, Axel is again in Beverly Hills, making an attempt to resolve 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 will not be canon in my world — is that in addition they functioned as supply methods for Murphy’s charms as a complete ham keen to freak out or converse in a parade of goofy voices for the sake of getting amusing. Axel F does that too, however greater than something, it’s a reminder of how enjoyable it may be to look at a Beverly Hills Cop film.

Regardless of its reliance on the acquainted, Axel F really is basically a very good time, so breezy and insistent on not taking itself too severely which you could’t even get mad when the dialogue often sounds prefer it acquired 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 might most likely play this position in his sleep, however he genuinely appears to be having a very good 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 digicam by singing together with Mary J. Blige or unleashing that trademark smile when the second requires it. (The second requires it fairly typically.)

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 consider their points are actual and distinctive to their relationship.

Whereas the returning actors can trip 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 totally 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 power who oozes extreme slickness; and Luis Guzmán in a banger of a cameo as a drug vendor whose facial hair is a glittery shade of blue. The way in which he permits the road “I’m layered and I’m advanced” to drip languidly off the top of his tongue is worthy of a standing ovation, even in case you’re watching alone in your personal front room.

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 very absurd variety of motor autos, one more throwback to the ’80s and ’90s films that first launched the sequence. He doesn’t do something notably 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 plenty of the retreads Hollywood is set to beam into our pupils, and it’s one more pleasant grownup action-comedy in a summer season 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, loosen up, 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.