An old adage in Hollywood advises against remaking the classics given that, with few exceptions, most fail to live up to the quality of the originals. So it’s always a pleasant surprise when a reboot comes along that defies the conventional wisdom. Such is the case with this wild, wacky, sidesplittingly hysterical installment in the “Naked Gun” franchise, the first since the 1994 release of “The Naked Gun 33-1/3: The Final Insult.” To call this offering a remake per se isn’t entirely accurate; it’s more of a continuation of the franchise’s mythology, even though it’s also an origin story of sorts featuring the start of the legacy of Detective Frank Drebin Jr. (Liam Neeson), son of the late infamously incompetent but always-triumphant Detective Frank Drebin Sr. (Leslie Nielsen). As with this series’ prior releases, the story here is basically incidental, serving primarily as a vehicle for carrying the endless stream of hilariously silly bits, sight gags and slapstick humor that have come to characterize the zany nature of these films. Essentially, though, the younger Drebin intrepidly, albeit it ineptly, seeks to solve the mysterious death of an electronics genius in a fatal car crash that’s initially chalked up to suicide but that may actually be murder to cover up a bigger and more fiendish plot. Aiding Drebin is his trusty sidekick, Ed Hocken Jr. (Paul Walter Hauser), son of his dad’s late wing man, Ed Hocken Sr. (George Kennedy), and the sister of the deceased (Pamela Anderson), a blonde bombshell femme fatale who frequently and brilliantly steals scenes with her unexpected but often-unassuming antics. While most of the gags land solidly and consistently (including some very off-the-wall material), there are a few times when the picture tries a little too hard, but they are far more the exception than the rule. Along the way, the narrative also incorporates nods to an array of other releases, such as the “Mission: Impossible” and “Kingsman” movies, as well as passing homages to its predecessor pictures. At the same time, though, this offering deliberately introduces aspects of the protagonist’s character and back story that are all his own, efforts to clearly set it apart from predecessor films. That’s smart filmmaking, to be sure: A picture that pays tribute to its heritage while simultaneously establishing its own destiny, a release sure to make series creators Jim Abrahams, David Zucker and Jerry Zucker proud of what their successors have produced. Much of the credit for that goes to writer-director Akiva Schaffer, as well as the undoubtedly influential hand of producer Seth MacFarlane, whose presence here may be somewhat low key but is nevertheless undeniable. Kudos also go out to the fine ensemble, performers who absolutely rose to the occasion when needed, vanquishing the doubt that many may have held about them before the picture’s release. In fact, that could be said about “The Naked Gun” as a whole: I’ll admit to having my doubts about whether the cast and crew would be able to pull this off, but they did – and skillfully at that. It’s a genuine pleasure to once again see a comedy in a theater that actually makes me laugh out loud, something I haven’t done to this degree in quite some time. So, to put it modestly, I guess you can probably tell I really liked this one.
