Beverly Hills Cop: Axel F

Eddie Murphy barely seems to have aged a day, although Beverly Hills Cop: Axel F shows that his franchise has lost a step.

Four decades after he was first introduced, and often imitated since, streetwise action hero Axel Foley retains a timeless appeal. With infectious charisma, Murphy eases effortlessly back into the classic character, tossing off acerbic one-liners with witty aplomb.

This third sequel in the series — and first since 1994 — is slick and stylish while providing an initial nostalgic kick. But once that wears off, the uninspired parade of chases and confrontations feels dusty and formulaic, hampered by stereotypical villains and assembly-line plotting.

The story finds Foley still patrolling the streets of his beloved Detroit, and still aggravating his supervisors, when he’s summoned again to Los Angeles. His ex-partner (Judge Reinhold) warns that Foley’s estranged daughter is in trouble.

It turns out that Jane (Taylour Paige) is a lawyer attempting to clear a drug mule from being framed for a shooting, and she’s being tracked by cartels.

Motivated both by justice and reconciliation, Foley reintroduces himself to exasperated Beverly Hills chief Taggart (John Ashton), another former ally, and to the young detective (Joseph Gordon-Levitt) assigned to keep him in check. Good luck with that.

With his new team in place, and plenty of friction to keep the banter lively, Foley turns his suspicions toward a high-level narcotics officer (Kevin Bacon) who just oozes corruption.

The film acknowledges that time has passed and the world has changed, even if Foley has not. He’s as brash and reckless, and also as persistent and resourceful, as ever.

Otherwise, this installment yields an eclectic mix of new and familiar faces, accompanied by a soundtrack that leans heavily into vintage favorites from Glenn Frey, Bob Seger, and The Pointer Sisters, along with that iconic Harold Faltermeyer synth-pop theme.

The screenplay attempts to examine how Foley’s old-school methods fit into a contemporary legal landscape of heightened sensitivity regarding police methods and suspect rights. Then again, thematic nuance takes a back seat to rookie director Mark Molloy’s large-scale set pieces with convertibles, helicopters, and even snowplows.

The father-daughter dynamic seems forced, and the uninspired central investigation lacks much suspense or surprise as the stakes inevitably become more personal.

Fans might appreciate this new ride-along, yet Axel F hardly breaks fresh ground and only intermittently matches the edgy energy of the original.

Rated R, 115 minutes.