Did modern movies need another Beverly Hills Cop? Probably not, but the new Netflix release, Beverly Hills Cop: Axel F, is a good way to re-introduce the Eddie Murphy of the 1980s. At the height of his fame and talents, Murphy roared through movie screens with an unrestrained brilliance. The comedian-actor was lighting fast, very funny, and he could act.

For decades, Murphy has been occasionally stuck in subpar works that were beneath his talents. While 2019’s excellent Dolemite is My Name was a raw, raunchy, return to great films (and a role that should have brought him an Oscar), he followed it up with the unnecessary (and unfunny) 33-years-later sequel to his 1988 classic, Coming to America. 40 years after the release of Martin Brest’s hilarious and exciting box office monster, Beverly Hills Cop, this third sequel is a decent attempt to recapture the gold of Eddie Murphy’s heyday.

Directed by first time feature filmmaker Mark Molloy, Beverly Hills Cop: Axel F is fun for a while. After a set up that features an exciting display of vehicular destruction, the creative towel is thrown in much too soon. From there, the movie tries to coast on nostalgia rather than giving its star something interesting to work with.

Still a wild-man street cop in Detroit, Axel Foley returns to Beverly Hills after his old buddy Detective Billy Rosewood (a wasted Judge Reinhold) goes missing. Billy was working on a murder case involving crooked cops, cartel hitmen, and cocaine. The lawyer representing the man falsely accused of the crime is Jane Saunders (a solid Taylour Page), whose real last name happens to be Foley. That’s right, she is Axel’s estranged daughter; a tired plot device.

Paul Reiser returns as Jeffery, Axel’s old partner who is now his Captain in Detroit. Given nothing interesting to do, Jeffery warns his friend and subordinate not to get into any trouble in Los Angeles. Of course, once there, Foley gets arrested almost immediately.

John Ashton is back as Taggart. Now the Captain of the Beverly Hills Police Department, the character is the only supporting player that retains the core of what made him special. This is the grouchy cop we met in part one and things haven’t changed. Once he finds Foley is back and in his jail, the reunion is less than sweet. Gruff and grumbly, Ashton does the best work in the film.

The screenplay (from William Beall, Tom Gormican, and Kevin Etten) doesn’t give Axel enough time with Rosewood and Taggart. Comic gold could have been mined in the return of this trio of misfits and friends, but the film puts Reinhold on the back burner and makes the relationship between Foley and Taggart constantly antagonistic.

Joseph Gordon-Levitt is the new meat, Detective Bobby Abbott, who’s working the murder case and who has a past with Axel’s daughter (yawn). Save for an exciting chase sequence, the character does nothing to further the story. Bobby exists to allow Murphy to stumble through too many unfunny jealous-dad jokes.

Another new character is Kevin Bacon’s Captain Cade Grant, a slimy crooked cop. Bacon is perfect in a role such as this and brings the film to life whenever he is on screen.

As for the film’s star, Eddie Murphy is in his element and manages to bring back the Axel Foley magic that endeared him to audiences. Older and somewhat wiser, Foley is still a whirlwind of irresistible charisma. While the film ultimately lets him down, Axel gets some funny moments where he does his “thing”. Once again, Murphy proves he is still an undeniable comedic force.

Lorne Balfe brings back Harold Faltermyer’s infectious score from the original two films, while adding his own pop-synth flavor compositions. It is a pleasure to hear the old themes return and the director uses them well. The same goes for Glenn Fry’s theme song for part one, The Heat is On. I’m not sure we needed to rehash Bob Seeger’s subpar theme from part two, Shakedown, but it should please die-hard fans.

Director Molloy makes good use of the L.A. locations and Eduard Grau’s camera returns to the mixture of gritty and slick that cinematographer Bruce Surtees set in the 1984 original. The film’s look is one of its highlights.

Another plus is the fact that every action sequence works. There is car chase carnage that includes dump trucks, three-wheelers, helicopters, and even a “meter maid” cart. All stunts are real and well-choreographed and director Malloy earns kudos for staying away from CGI.

The best moment in the film is when Foley and Abbott commandeer a helicopter and fly down the streets of Beverly Hills while being chased by Bacon’s character who shoot at them from his car. The moment has the type of wild, funny, and exciting rush found in the first film.

While Axel Foley is an unrestrained burst of energy, the film isn’t up to the standards of the character. Of course this is an older Foley, but his wit is still there and Murphy hasn’t lost a step. Ultimately, the script is plagued by familiarities. Another ritzy hotel Axel can’t afford, another crappy vehicle in a town of expensive cars, and another final shootout in a mansion. After the fun first half hour, the film becomes too uninspired to enjoy. The writers know how to set it all up, but lose faith in their abilities, forcing the rest of the film to coast on nostalgic callbacks.

Mark Molloy’s energetic direction keeps the film’s heart beating for as long as it can. By the final act, it becomes a tired retread of all that came before. Eventually, the film flatlines.

Beverly Hills Cop: Axel F has some entertaining bursts of fun and it is great to see Murphy return to his old character with ease. It is the lackluster screenplay that eventually makes it a so-so experience.

Beverly Hills Cop: Axel Foley

Written by Will Beall, Tom Gormican, & Kevin Etten

Directed by Mark Molloy

R, 115 Minutes, Don Simpson/Jerry Bruckheimer Films, Eddie Murphy Productions, Netflix