One of the many impressive qualities about those two Spider-Verse movies is their opening studio logos. They flicker on-screen like Spider-Verse characters stuck in the wrong dimension for too long, revealing blink-and-you’ll-miss-it logos of other times. These images inspire chuckles and excitement, acting as reminders that, in cinema, anything can be a thrilling visual gag. Tragically, many modern live-action comedies don’t have that ambition. They opt instead for rudimentary visuals that constantly squander memorable gag opportunities. Every Frame a Painting pointed out these cinematography problems back in 2014, and things have only gotten worse since. Thankfully, The Naked Gun reboot is now swooping in to save the day like a skydiving Eric Andre crashing into a focus group meeting. Rib-tickling visual gags are back on the big screen. They’re sure a sight for sore eyes.

Writer/director Akiva Schaffer (who penned this script with Dan Gregor and Doug Mand) hits the ground running in this briskly-paced 85-minute yukfest. As the story begins with Police Squad’s comically loose cannon Lt. Frank Drebin Jr. (Liam Neeson) is following in his pop’s footsteps, obliviously preposterous voice-over narration and all. He’s breaking every law possible. But, for justice.

Much like the original series juxtaposed Leslie Nielsen’s history of playing straight, serious parts with the comic chops that came to dominate the second half of his career, this The Naked Gun delights in sending up a Neeson who is mostly ingrained in pop culture as a sturdy, stoic type. As with Nielsen in 1988—or even 1982 with the Police Squad TV series—these waters are not entirely untouched by the new Drebin. Neeson has played against type several times over the past several years, mostly in Seth MacFarlane (who’s aboard here as a Producer) projects. Still, this new Naked Gun wrings shock value laughs out of seeing Oskar Schindler/Alfred Kinsey act like a doofus.

Such dissonance plays heavily into The Naked Gun’s central plot. While investigating what looks like a routine car accident death, Drebin Jr. stumbles into a greater conspiracy involving tech billionaire Richard Cane (Danny Huston) and his plan to make the world’s population go mad. Our protagonist also finds himself enamored with Beth Davenport (Pamela Anderson), a woman who suspects Cane murdered her brother.

A key shortcoming in this new Naked Gun is the disparity between the Cane and Davenport subplots. Huston’s character is a pastiche of so many modern blockbuster movie villains. He’s even got a sterile, metallic war room and a belief that yesteryear offers the answers to today’s woes. Casting an actor famous for playing Wonder Woman/X-Men Origins: Wolverine/The Crow villains further aligns Cane with typical espionage/superhero baddies.

Davenport, however, is straight out of a classic film noir. Anderson wonderfully channels Barbara Stanwyck and Lana Turner in her femme fatale-coded performance. Meanwhile, cinematographer Brandon Trost crafts memorable images combining Davenport with the shadow-obsessed visual norms of noirs. However, Naked Gun’s script isn’t as deft at oscillating between Mission: Impossible – Fallout and Double Indemnity homages as it is with background gags. The disjointed cultural influences don’t quite gel cohesively, particularly once the finale places all the emphasis on Cane’s evil plot. Tragically, this means Davenport’s awkwardly sidelined in the final twenty-ish minutes.

Generally, though, The Naked Gun delivers as an exceedingly wacky comedy. Not only is this a funny movie, but there’s real craftsmanship to even its dumbest gags. Schaffer is a pro at this kind of material. His resume includes Hot Rod and Popstar: Never Stop Never Stopping, as well as helming such SNL Digital Shorts as “Dear Sister.” That skillfulness is palpable. Visual gags are framed just right for maximum laughs, or certain jokes take unexpected detours to riotous punchlines.

Even a lengthy fart-oriented scene gets so much mileage out of tiny details. For example, Neeson, his back to the wall, slowly slides to the ground in embarrassment while Busta Rhymes, in the foreground, yells to a videotaped Drebin, “Don’t eat that [chili dog]!” The broadest comedy set pieces pack precise timing or visual cues. The most inspired sequences epitomize Dear Sister’s hysterical, escalating comedic chaos.

Easily the highlight of such segments is Drebin Jr. and Davenport’s snowy, romantic retreat to a cabin as they first fall in love, set to Starship’s “Nothing’s Gonna Stop Us Now.” Initially, Schaffer and Trost’s attention to detail in 80s music videos’ visual hallmarks (namely, the softness of light pouring through windows) is enough to inspire chuckles. Soon, though, the whole scene takes a complete 180 into territory involving a terrific Jim Henson’s Creature Workshop creation. No further spoilers here. Suffice to say, the whole sequence is a masterclass in how precise pacing and camerawork are integral to making outlandish jokes click.

Happily, this and other Naked Gun scenes aren’t just rehashes of memorable gags from the Leslie Nielsen-headlined installments. Tremendously humorous sequences like an elderly billionaire’s obsession with crab-people or a faux-UFC commentator’s concern over his wife’s potential infidelities are exclusive to this reboot/legacy sequel. Much like Creed from ten years ago, Schaffer’s Naked Gun builds on the past to make something new. It avoids devolving into a Flash/Ghostbusters: Afterlife-style turducken of callbacks.

These proceedings also allow Liam Neeson to show off some commendable comedy chops in the film’s lead role. No matter how silly things get, Neeson wisely maintains faux gravitas that really lets his wackiest actions sizzle. Anderson’s also a hoot, throwing herself into this offbeat material, including her excellent line delivery in a terrific pun involving UCLA.

However, Danny Huston proves The Naked Gun’s MVP. After years of playing throwaway genre movie baddies, Huston relishes the chance to play something with more memorable dialogue and personality. His sense of comic timing is often sublime. He executes a pair of especially vulnerable Cane lines in a climactic Drebin Jr. duel with particularly gut-busting finesse.

While other modern comedies like The Wrong Missy and Next Goal Wins sleepwalk through their respective runtimes, The Naked Gun is excitingly alive. It commits to unleashing gags at every opportunity. Subtle background jokes like NPR sponsoring a not-UFC match reward eagle-eyed viewers, while the broadest gags still radiate comedic creativity. Even the end credits slyly slip in tennis and produce aisle puns. The Naked Gun is an absolute riot that happily stands on its own two cultural feet. Other legacy sequels take note. Channeling Dear Sister energy is an infinitely better recipe for cinematic success than rigidly regurgitating the past.

The Naked Gun flashes…its badge in theatres everywhere starting August 1.

The Naked Gun Trailer: