“世界を救うのは…この男 じゃないかもしれない。”
ロサンゼルス市警特捜隊のフランク・ドレビン・ジュニアは、父譲りの型破りなスタイルで銀行強盗団を制圧。だが、それはある陰謀の目くらましだった。フランクは小説家のべス・ダヴェンポートと背後に巨大テック企業のCEOが関与していることを突き止める。
製作費: $42,000,000 (63億円)
興行収入: $102,147,396 (153億円)
推定収支: $60,147,396 (90億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: Akiva Schaffer
脚本: Dan Gregor / Doug Mand / Akiva Schaffer
音楽: Joel McNeely / ローン・バルフェ
制作: Akiva Schaffer / セス・マクファーレン / Erica Huggins
撮影監督: ブランドン・トロスト
制作会社: Fuzzy Door Productions / Paramount Pictures / Domain Entertainment
FULL SPOILER-FREE REVIEW @ https://movieswetextedabout.com/the-naked-gun-movie-review-making-people-laugh-is-still-a-noble-cinematic-goal/ "The Naked Gun is a triumphant return to a kind of comedy that’s on the verge of extinction. It’s a love letter to a subgenre often dismissed, yet one that, when done right, can provoke genuine, infectious laughter like few others. Liam Neeson leads a cast fully committed to the silliness, with a script that honors the legacy of one of the most beloved comedy franchises of the 20th century. For longtime fans, I imagine it’s a nostalgic and comforting trip down memory lane. For newcomers like me, it’s the perfect gateway into the world of Frank Drebin (Jr.). A simple, light, and above all, tremendously funny film – exactly what cinema should also be." Rating: A-
**Review: The Naked Gun (2025) – A Goofball Reboot That Delivers Laughs, But Lacks the Original's Bite** Director Akiva Schaffer’s The Naked Gun (2025) revives the iconic spoof franchise with Liam Neeson stepping into the oversized shoes of Frank Drebin Jr., son of Leslie Nielsen’s legendary bumbling detective. While the film captures the absurd spirit of the ZAZ (Zucker-Abrahams-Zucker) classics, it’s a mixed bag of inspired gags and missed opportunities, earning its place as a fun—if uneven—successor 15. ( @ https://purocine-hd.blogspot.com/2025/07/the-naked-gun-2025-movie.html ) The Good: A Worthy Homage with Modern Twists Liam Neeson’s Deadpan Buffoonery: Neeson’s gravelly gravitas is repurposed for comedy, playing Drebin Jr. as a rogue cop parodying his own Taken persona. His delivery of lines like “I’m sure it’s Carrie who writes!” (when asked about Miranda rights) lands well, though he lacks Nielsen’s innocent charm 19. Pamela Anderson’s Scene-Stealing Turn: As femme fatale Beth Davenport, Anderson shines with comedic timing, especially in a bizarre snowman ménage à trois sequence and scat-singing bits. Critics praise her as a revelation 56. Joke Density: The film packs rapid-fire puns (“UCLA?” “I see it every day!”), meta gags (the villain’s “P.L.O.T. Device”), and slapstick (Drebin biting gun barrels). The “chili dog intestinal calamity” scene is a standout 19. Visual Upgrades: Schaffer’s dynamic cinematography (e.g., swooping fight scenes) modernizes the franchise’s flat TV aesthetic, though some argue it undercuts the original’s minimalist hilarity 9.
That trailer with the little girl going into the bank left me dreading this. I thought it was going to be terrible, but it isn’t. It is very much a respectful homage to all things “Airplane” and “Naked Gun” from years gone by and Liam Neeson and Pamela Anderson have entered into the spirit of this entertainingly. There is the thinnest of plots about a megalomaniac technology mogul “Cane” (Danny Huston) who has a gizmo that can calm everyone up instead of down. “Drebin” (Neeson) is the son of the legendary “Police Squad” father and he has to try to thwart these evil plans in the face of both a shrewd enemy and his ruthless enforcer “Sig” (Kevin Durand) as well as with his own under-pressure boss (CCH Pounder) who keeps threatening to shut him down! When a body is discovered in an electric car in a river, he is introduced to the victim’s sister “Beth” (Anderson) and soon this pair are working in tandem. Can they stop the New Years’s balls from dropping? Jeopardy there isn’t, but if you remember those other films you’ll appreciate the double-entendres, the literal expressions - “take a seat”… “no thanks, I have some at home already” - kind of thing, and the entire ensemble seem to be up for hamming things up (especially Durand who is about as intimidating as yesterday’s toast) as we head to an enjoyable denouement that squeals predicable and sequel in equal measure. Anderson is on great form as she delivers her lines in an “ok, cue Pam”, stilted, sort of fashion. It also benefits greatly from being tightly scripted, edited and put together. It’s not even ninety minutes long so there isn’t really time for us to tire of the joke. It is good fun, silly and a bit puerile, put still a good laugh.
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.
Pretty fun and plenty of the gags in the same vein as the original. Not a great comedy but fun nevertheless and Liam Neeson was a great choice with his deadpan delivery. **3.0/5**
