Leslie Nielsen’s The Naked Gun films have always been praised as endlessly unique in their stupidity, and full of roaring hilarity as a result. His mostly unflinching seriousness paired with David Zucker’s preposterous comedy writing was a match made in heaven. Those films have small one-liners and bits that will never fail to make you laugh, no matter how many times you see them. The ridiculousness and often out-of-pocket humour is one thing but when it comes to the films’ spoof nature, it is even better. There are countless references to lots of classic action films that have come before it and its riffing and satirisation of those tropes is what gives these films their identity. From the iconic police car intro credit sequences, to the reality bending and far from subtle digs, there is so much to love about these silly films. However now, after an over 30 year hiatus, the series has made a return. Following suit from the originals by getting a relatively serious actor in the comedy saddle, Liam Neeson is part of Police Squad now and is bringing down the law on ne’er do wells. Dripping with familiar humour and an updated catalogue of spoofs and references, The Naked Gun is a comedic delight, and you’d be hard pressed to find a funnier film all year.

Liam Neeson is Frank Drebin Jr., son of Frank Drebin and Jane Spencer from the original trilogy. Much like his father, he is a reckless member of Police Squad, constantly bending the rules of the law (and often physics) in order to dispatch criminals. He does so during a bank robbery, but he unfortunately lets the robbers get away with the P.L.O.T Device that they came to steal. The robbers are in league with tech CEO Richard Cane (Danny Huston), who has a plan to calm people up (yes, you read that right) with this P.L.O.T Device and reduce everybody to a rabid state that him and his billionaire friends can rule over. Though told not to pursue the case by Chief Davis (CCH Pounder), Frank does not bother to listen and with his best friend Ed Hocken Jr. (Paul Walter Hauser), he tries his best to get to the bottom of it and expose Cane. Tagging along and in a budding romance with Frank is Beth Davenport (Pamela Anderson), who is convinced her brother has been murdered by Cane. Doing so with style and silliness beyond measure, Frank and his ensemble try to uncover Cane’s plan and make sure everybody stays calmed down.

The main question for a film like this, particularly considering its a legacy sequel, is whether the humour hits the mark. There is a true dedication to stuffing this under 90 minute film with as many jokes as it can, much like the original films. Considering there is at least a couple jokes every minute, the hit rate is very admirable to say the least. Some certainly work more than others but I have not heard so much laughter from a screening in a long time. There are some proper laugh out loud one-liners, some of which are a lot more risque and dark but their shock value really adds to the humour. A lot of it lives and dies on Neeson’s delivery too and he does not disappoint, definitely channeling Nielsen’s deadpan style whilst adding his own flair and campiness. It is a genius blend of what we love about Neeson, juxtaposed with the film’s strange unseriousness, with moments of Neeson sometimes getting swept up in it and breaking character. If there was ever a doubt he would be up to this task, he smashes through expectations anyway and you will come away seeing a different side to him from his usual gruffness. The final piece of this comedy package is its multiple bits in reference to other films and they work well. One particular sequence in reference to Mission: Impossible was very funny and best of all, the scenes like this do not overstay their welcome. Much like the film as a whole, its comedic pieces are short, snappy and sure to make you laugh a good few times.

In terms of the plot, it is probably complimentary so say how stupid and ridiculous it is. By no means is this film trying to be this massive twisting and turning thrill-ride but the basic plot is just all over the place. It does not take a genius though to realise that this is a deliberate choice and it is clearly riffing off action films new and old for most of its plot points and scenes. Just from the very existence of the brilliantly named P.L.O.T Device being introduced in the first scene, it becomes pretty obvious what you are in for. Frank seems to be the only cop that actually does anything to try and stop Cane, with even the chief not even seeming to be on duty most of the time. Most of the plot progression comes with Frank and Beth’s infiltrations and these are very typical spy/action film sequences that do not take themselves seriously. Beth giving very over-the-top and obvious distractions and Frank trying to quietly dispatch Cane’s goons in the least subtle ways possible; it is all there to be pointed and laughed at and you have to respect that. The Naked Gun sets out with one goal in mind and that is to entertain every step of the way. It is no where close to saying anything profound with its writing but it was never going to in the first place.

The Naked Gun is not an exceptional film, but it is an exceptionally funny film that is dedicated to being just that. The whole cast is also dedicated to that same goal with Neeson really understanding the assignment. His chemistry with Anderson was infectious too and it made for some of the funniest moments in the film, so it is lovely to know that they are hitting it off in real life. None of the film is shooting for the stars in terms of its quality and that self-awareness is key to making it work. It is quite obvious that this is a relatively low-budget affair from its visuals and such, but the film’s meta-humour and silliness is like an instant overlook for anything not quite up to scratch. It is a spoof-comedy down to its core and it is so cut from the same cloth as the original that I’m sure Nielsen himself would be proud of. If you want an honest good laugh in the cinema this year, this is likely the perfect film for it.