Naked Gun 33 1/3: The Final Insult

Let's just say if you liked the last one, you'll like this one, too. Otherwise, you'll discover that it's time for Drebin, Nordberg, Capt. Hocken, and the rest to finally retire their badges. Read full review

A step down from the first Naked Gun cop-thriller spoof, which was a step down from Airplane! and Top Secret!; but if you care about such fine distinctions, this may be marginally better than Naked Gun 2 1/2: The Smell of Fear. Or at least it is when the movie finally arrives at the climactic Academy Awards ceremony; prior to that, it's mainly just one little-boy gag after another. Read full review

Yes, the Naked Gun series is showing its age, resorting to spoofs that have been done countless times before (there's a long, mostly unfunny parody of prison movies) or sketches that simply don't work (like a lame Thelma and Louise takeoff.) This type of rapid-fire, joke-a-second comedy is on the verge of cliche -- imitations like Fatal Instinct, National Lampoon's Loaded Weapon, and the Hot Shots! series have turned what was fresh and rollicking into a formidable challenge. Audiences have grown used to this style of stupid humor, so if a movie is going to employ the Airplane! format, the jokes have to be funny. [18 Mar 1994, p.G5]

The Naked Gun 33 1/3 has the feel of a movie with too many jokes off the cutting-room floor. Through it all, Nielsen's consummate timing and ability to come through in the klutz makes things seem more amusing than they are. [18 Mar 1994, p.3]

Full of gratuitous sexual innuendoes and death-defying closeups of Playboy covergirl Anna Nicole Smith's anatomy, the film lacks most of the zest that made the original so tasty. [18 Mar 1994, p.6]

Of the Naked Gun films, 33 1/3 is the most successful in capturing the breakneck genre parody that marked the short-lived but critically acclaimed Police Squad TV series (which won Nielsen his only Emmy). Taking broad pot shots at everything from Thelma & Louise to The Crying Game, and culminating with a breathless swipe at the sacred cow of the movie industry, the Academy Awards. Read full review

Loaded with the usual barrage of irreverent, politically incorrect and virtually non-stop gags. Director Peter Segal and writers Pat Proft, David Zucker and Robert LoCash succumb to occasional bouts of toilet humor, but there’s also some extended hilarity in a scene set around the Academy Awards. Read full review