Akiva Schaffer’s 2025 version of The Naked Gun is not a remake of David Zucker’s original released back in 1988, but rather a legacy sequel. Zucker’s version had Canadian actor Leslie Nielsen as Lt. Frank Drebin, while Irish actor Liam Neeson takes on the role of Frank Drebin Jr. in this new film.

Zucker’s original might now be best known for its famous cameos: Priscilla Presley as Frank Sr’s love interest, O. J. Simpson (ironically) as Officer Nordberg, Ricardo Montalban as the main villain plus Reggie Jackson as himself. The film did very well at the box office and was subsequently followed, with somewhat less success, by Naked Gun 2 1/2: The Smell of Fear in 1991 and Naked Gun 33 1/3: The Final Insult in 1994.

If you managed to see any, or even all three of these earlier films, either in the theatre or later on video and enjoyed the madcap comedy of sight gags, satire and double entendres, you won’t be disappointed in this new film.

While many of the jokes are just plain silly, the screenwriting, in general, is excellent. One of the most amusing sight gags that persist throughout the movie’s runtime is the endless coffee drinks handed to Neeson and his sidekick Paul Walter Hauser in disposable paper cups. Movie-goers with a quick eye will spot numerous cameo appearances that last only a few minutes like rapper Busta Rhymes as a bank robber, or even a few seconds such as Dave Batista and Cody Rhodes.

I did have a problem with the casting of Liam Neeson as Leslie Nielsen’s son Frank Drebin Jr. Neeson has assembled an incredible catalogue of serious work over many decades that includes everything from Star Wars to Schindler’s List. However, despite a valiant effort, slapstick doesn’t appear to be his forte.

British Columbian actor Pamela Anderson, on the other hand, delivers a nuanced comedic turn as sultry siren Beth Davenport. Anderson is right at home in a campy noir femme fatale role (reminiscent of her Barb Wire role).

The film’s runtime is only eighty-five minutes, but none of it is wasted. Akiva Schaffer’s direction barely misses a beat.

© 2025 John Anthony Jane