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This is a very appropriate sub title for this fourth Beverly Hills Cop film as it is that famous theme tune that has lasted in pop culture more than any of the films, and here they are most certainly taking it back. There are many people who won’t know where this 80s synth pop classic originally comes from, let alone that is named after this series’ main character, but here it is fully reclaimed from that episode of Friends, Family Guy, Monsters Vs Aliens, Angry Birds 2, Crazy Frog and all the other things that have appropriated it over the years. The famous do-do-do-do-do-do-do refrain permeates the whole of this movie too; variations of it play all the way through. I have to say, it is nice to see/hear it back where it belongs; underscoring Eddie Murphy’s unconventional Detroit police officer crouching behind the low walls and elaborate columns of 90210, California, gun in extended arms, taking down nameless henchmen.

There are several new scenes of him driving impractically large vehicles carelessly through surrounding traffic, the other mainstay of these films, too but they have other songs from that first 1984 soundtrack playing over them.

Of course what the best of these movies have also been built around is Murphy’s bold as brass, wise ass Axel Foley comedy schtick and this is properly back as well. This character fits Murphy so well, it was probably his star making role back in the day and after forty years he still totally shines in the role.

There is definitely a lot of nostalgia appeal here but it doesn’t hang on this in terms of the plot. The opening feels a bit forced in how it tries to refamiliarise us with the set up and style of these films, and there are a handful of nods to the past throughout, but generally it stands as a simple, fun, if slightly old fashioned action movie. It’s not perfect but I have to say that I enjoyed the hell out of it.

This is director Mark Malloy’s debut feature but he handles his material with confidence. It is probably worth noting here that the original Beverly Hills Cop was the first film for Martin Brest too and actually Tony Scott had only made two movies prior to taking on Beverly Hills Cop 2 (although one of those two was Top Gun). The most experienced film maker to give us one of these was John Landis with number 3 but that is the weakest of the lot (something that is smartly referenced in this movie, without breaking the fourth wall).

In some respects this belated sequel is actually quite restrained. It resists the temptation to go too big with the plot and there is an enjoyable extended scene with a helicopter which is surprisingly grounded. Bronson Pinchot returns as Serge and can see why but he’s a lot and they have wisely measured this too.

New to the cast are Kevin Bacon and Joseph Gordon Levitt, the latter of whom brings a bit of class even if Bacon is phoning it in as a standard cliched bad guy.

The Ripley Factor:

Newcomer Taylour Paige also features as Axel’s daughter and while there are some tropes in how she fits into the plot, she is certainly the best female character any of these films have had. She is successful, smart and brave and her relationship with her estranged father is quite well played. The failed 2013 TV pilot that tried to restart this series before chose to build itself around a son rather than a daughter so this is definitely a step forward in terms of gender representation.

Beverly Hills Cop: Axel F might be better suited to its home on streaming rather than having any ambitions with regard to cinemas and box office, but it is one of Netflix’s better big name movies this year and definitely worth a watch, especially if you’ve had that tune in your head for four decades like I have.

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