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    Movie Review

    Liam Neeson spoofs his tough guy image in Naked Gun movie reboot

    Alex Bentley
    Jul 31, 2025 | 2:34 pm
    Liam Neeson in The Naked Gun

    Liam Neeson in The Naked Gun.

    Photo courtesy of Paramount Pictures

    The Naked Gun series holds a place in the hearts of certain comedy fans, as the three films — made in the late ‘80s/early ‘90s — continued a tradition started by Airplane and This is Spinal Tap of spoofing more serious types of movies. It also inspired a new generation of comedy filmmakers, which is why it’s being revived over 30 years later by writer/director Akiva Schaffer, one-third of the comedy group The Lonely Island.

    This version of The Naked Gun stars Liam Neeson as Frank Drebin, Jr., the son of Leslie Nielsen’s character from the original trilogy and Police Squad!, the short-lived sitcom upon which the series is based. Like his father, Frank has a combination of skills that make him look both impressive and inept in equal measures. Early on, he seems to thwart a bank robbery, only to learn that billionaire Richard Cane (Danny Huston) has gotten away with something called the P.L.O.T. Device.

    As if it’s not clear by the name of the mystery item, the bare-bones plot is merely an excuse to have Frank bumble his way around Los Angeles. Along the way he discovers a murder; acquires a love interest in Beth Davenport (Pamela Anderson), the dead man’s sister; continually raises the ire of Police Chief Davis (CCH Pounder); and generally causes chaos wherever he goes.

    Co-written by Doug Gregor and Doug Mand (Chip ‘n Dale: Rescue Rangers), the film gets off to a solid start, not least because it’s front-loaded with a lot of the jokes shown in the trailer. As fans of the series will expect, it’s packed with multiple sight gags, plays on words, and other stupid-but-comical bits. The goal is to pack as many funny things as possible into each minute, hoping the resulting laughs will overshadow any faults.

    Which is why it’s surprising that, after the opening barrage, the filmmakers dramatically slow things down. Even at a brisk 85 minutes, the film starts to drag as some sequences go on far longer than they should. Schaffer and his team can’t seem to settle on the balance between too much and not enough; they let a joke about Frank’s bad experiences with chili dogs go on and on while not letting other, better ideas breathe a bit longer.

    The romantic subplot between Frank and Beth yields some solid results, like a sexually-suggestive sequence misinterpreted by an onlooker and another weird one involving a snowman who comes to life. But humor is harder to come by as Frank pursues Cane, with even the obvious jokes missing the mark. Frank, Jr. is even more oblivious than his father, a trait that should lead to great comedy but somehow fails to land for much of the last half of the movie.

    Neeson works in fits and starts in the lead role. Spoofing his own screen image, it’s fun to see him stay dead serious while doing ridiculous things, but the illusion doesn’t last. Anderson and Huston play characters in the same vein, as does Paul Walter Hauser as Frank’s partner Ed Hocken, Jr., who could have used more screentime. What the film needed was a character like O.J. Simpson's Nordberg in the original trilogy, who could be brutalized for laughs and little else.

    The makers of the new film have the comedy chops to reinvigorate a property like The Naked Gun, but they ultimately can’t maintain the rhythm that a movie like this needs. Even stupid comedy can be difficult to pull off correctly, and even though this film is full of inanity, there are not enough memorable moments to make it worth recommending.

    ---

    The Naked Gun opens in theaters on August 1.

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    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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