Everybody on camera looks delighted to be here in the first “Beverly Hills Cop” movie in a dozen years, the first “classic cast” sequel since 1994.

And that’s a lot different from the “relieved to be here” financially-strapped folks who trotted out for “Bad Boys: Ride or Die” or a few other hoary old sequels we could name.

Eddie Murphy’s engaged, with series regulars Judge Reinhold, John Ashton, Bronson Pinchot and Paul Reiser showing a lot more miles than Eddie as Axel.

Newcomers Taylour Paige and Joseph Gordon-Levitt give fair value, and Kevin Bacon as the heavy? Money well spent.

“Beverly Hills Cop: Axel F” isn’t all that as a movie, with a laugh-starved script full of fan service nostalgia, recycled-to-death plot points and limp versions of all the banter and one-liners Murphy & Co. used to tickle us with.

” I know there’s some things we need to talk about,” Eddie as Axel says to estranged daughter Jane (Paige of “Ma Rainey’s Black Bottom,” “Zola” and “White Boy Rick”) not once, but SEVERAL times, none of them touching, amusing or anything but screenplay filler.

It’s like an AI script doctor take on a “Beverly Hills Cop” movie, all tropes and cliches, with some characters past retirement age and Murphy’s Axel trapped in that orginal 1980s wardrobe and original goofy irreverence for Beverly Hills affluence and “the rules” of police work.

But the car and snowplow chases, the shoot-outs and a helicopter get-away that will make you go “Did they actually DO that without models and CGI?” show that Netflix spent theatrical release money on this bad boy.

And since most everybody in this, young (Paige and Gordon-Levitt) and old is almost criminally underemployed, let’s settle in for the old riffs, the old tunes (Pointer Sisters to Seger to Harold Faltermeyer’s synthesizer signature song) and the old gang out for one more ride.

Axel’s managed to remain a detective in Detroit, with his old colleague Jeffrey (Reiser) now the retiring chief weary from decades of covering his ass. A call from his former cop pal Billy in Beverly Hills (Reinhold) alerts him that Axel’s high-powered attorney daughter is under threat from cartel killers and a narco-cop commander (Bacon) out to silence her.

Axel’s been in a rut, stuck in that damned Detroit Lions jacket and driving a Chevy Nova, for Pete’s Sake. Something has to bring him back to relevance.

Axel jets out, can’t find Billy and can’t get his daughter (Paige) to take his calls. But something’s up, so he might as well do a few funny voices — a Jamaican accent among them — bluff assorted bad guys, kingpins (Luis Guzman SINGS!) and maitre d’s and do his whole “bull in a Detroit Lions jacket in a china shop” shtick until he gets some answers.

“They LOVE me in Beverly Hills!”

At least in Beverly Hills they have an ’80s beater Ford Bronco for him to rent. Very OJ.

“Shtick” is the main component of this “everything old is new again” variation on the formula.Those still affectionate for the ’80s-90s films, their casts and the roles they play will get a little chuckle out all these friendly and much-older (save for Murphy) faces.

Cameos almost produce a laugh, here and there.

But the well-preserved Murphy has lost his fastball and the picture feels winded when at their best, the earlier films were breathless — fast-talking with brisk action, when they delivered it.

Axel F is slow-footed, and you can say the same about the movie that catches up with him after all these years. A warm grin of recognition here and there and memories of better banter, quicker pacing and a real fish-out-of-water feel from the earlier films is about the best one can hope to get out of this “Cop.”

Rating: R, gun violence, drug abuse, lots of profanity

Cast: Eddie Murphy, Taylour Paige, Joseph Gordon-Levitt, Judge Reinhold, John Ashton, Luis Guzman, Bronson Pinchot, Affion Crockett, Christopher McDonald, Paul Reiser and Kevin Bacon

Credits: Directed by Mark Molloy, scripted by Will Beall, Tom Gormican and Kevin Etten, based on the Danilo Bloch/Daniel Petrie Jr. characters. A Netflix release.

Running time: 1:54