Merrick here...

Last week, a "trailer" for the forthcoming RENO 911!: MIAMI feature film hit YouTube.

We linked to it -- the trailer received an overwhelmingly positive response from those lucky enough to access it. Which, of course, means The Powers That Be promptly pulled it from YouTube.

For those who missed it: the material was a riff on the first trailer for Michael Mann's MIAMI VICE movie; the RENO characters trying to grasp the meaning of the word "foreboding", for example. Pretty great stuff.

The film looked like a lot of fun -- a sentiment echoed by Mr. Green, who recently attended a test screening of the project.

Here's Mr. Green, who has reviewed stuff for us in the past...

Mr. Green here with another review, following up with the now sixteen-month-passed review of Mike Judge's Idiocracy (if it EVER gets released).

This may or may not be of interest to you, but given your site's aptitude for discussing cult niche films, I figured some readers might enjoy an early review of Miami 911, the silver screen version of Comedy Central's improv/mockumentary show Reno 911. I screened this in late May at the Block at Orange, and were informed we were the first audience to see the film.

The audience was divided into two theaters, those who were fans of the show, and those who were not. I should preface this review by stating that I, and my guest, were in the "fans of the show" theater. I am also a fan of The State and the New York comedy crew attached to it from its old days on MTV.

Additionally, I want to affirm slightly the more critical view I take on most comedies, which I usually will NOT see in the theater (I was one of the minority who intensely disliked Anchorman, had a mild appreciation for Wedding Crashers, but did really enjoy the 40-year old virgin.) So, with that out of the way.

This was absolutely hilarious.

First and foremost, if you are a fan of the show, you will almost certainly enjoy the movie. I promise you much of the institution you relish on Comedy Central about thirteen times a year is intact, and the patently R rating gives the core writer group (Tom Lennon, Ben Garant, and Kerry Kenney) the freedom to assault us directly with unapologetic dialogue, overt sex and T & A, and gruesome comic death in a way the show only hints at. There is only one thing the film fails to nail in its transference to the big screen, and I will get to that later.

The plot, much like on the show, is a throwaway, simply providing a loose explanation for certain situations in which the gang finds themselves. But, apart from a couple scenes where they hit you over the head with exposition, it really does not matter. And the way the cast themselves mock the insipidity of the story is fairly amusing.

All you need to know is that after being invited to attend a nationwide law enforcement conference, the group travels to Miami only to find they are not registered and cannot attend. After they leave, the conference is exposed to a bio-terror attack, which leaves the troupe as the only cops in the entire city.

Thus, we find the sheriffs in a fish-out-of-water role, which has its own laughs for a brief part in the middle. However, they quickly settle into their own apathetic and incompetent brand of justice dispensing, tapping familiar reservoirs and laughs from the show, including a couple jokes and characters lifted directly from the series.

Non-fans may miss some inside jokes, but if you enjoy the sex comedy of Wedding Crashers and the 40-Year Old Virgin, the inappropriate comedy of the Zucker Brothers' films, you have something to enjoy as well.

The film is unapologetic in its direct assault of sexual comedy, with enough tits and ass to keep the undersexed male population happy, including one protracted and completely unnecessary topless beach scene involving a beached whale (though the actual interaction with the whale is quite amusing, but I challenge you to keep your eyes on the whale :).

Cast members also do not hide much of their sensibilities, and explore their own sexual needs in a great if overly long scene at their hotel. This film is targeting the 17-39 age group, and hits their target pretty solidly, but you may not want to invite your folks. Similarly, those 14-16 year olds sneaking in or accompanied with mom ("I've seen the show, my son likes it, and it's not that offensive" moms should be aware of exactly what they are taking their kids to see) will enjoy the film, but may miss some of the more intelligently written humor.

I personally feel that the combination of intelligent dialogue and the keystone kops stupidity of the sheriffs is what makes the show work, and it is present here in spades.

Another thing fans and non-fans alike will appreciate are the astounding cameos, and there are countless ones. Stay surprised on these, because they actually help drive the film in what are otherwise not hysterically funny interludes. Paul Rudd occupies a fairly major role and my and Herc's man Patton Oswalt finally gets to play a major role in a film. Other than that, most people, including regular guests on the show, come so quickly as to be like that commercial you love (mine is the Carl's Jr. milkshake cow shaking one), watched and enjoyed for thirty seconds and then forgotten.

Again, with apologies to Herc, a brief summary of pros and cons:

What works: anything Trudy Wiegel (Kerry Kenney-Silver) does, Rainessha (Niecy Nash) on the beach and looking for love, the group's non-police wardrobe, the beached whale solution and Patton Oswalt's reaction, Junior's dream sequence, Paul Rudd's exposition, COPS, the Alligator (which will probably become a fan favorite), the cameos.

What doesn't work: Jones, Garcia, Clemmy, and Kimball are not given enough to do, though their show roles are at least explored.

The biggest gripe I had with this film is that it loses some of the magic of the show. While some parts work well and others simply do not (or do not evoke big laughs), the scripted nature of the film is such that the obvious improvisation of the show and its editing style (absurd end to a dialogue, with a quick cut to an unconnected scene) are diminished.

That spontaneity is still present in parts, but the dialogue seems somewhat stilted in comparison to the show. Additionally, the T & A, while very amusing in some parts, is seemingly excessive in others, and could be trimmed (no pun intended) without losing much comedy value.

Finally, the plot goes nowhere fast, and the only storyline Clemmy (Wendi McLendon-Covey) gets is both obvious and not very amusing.

However, on the whole, friends of blue comedy, well-written and conceived sex jokes, and idiots in authority roles will relish the unique contribution of this film. I was thrilled to see co-writer/director Garant did not let the film devolve into the blubbering plot-driven second half shit of Wedding Crashers or Dodgeball, where those directors feel that without a moral lesson and happy resolution of all characters' lives the audience would somehow be upset at the film.

Garant knows we do not need that, and he does not provide stereotypical storyboards to satisfy "The Formula", instead leaving the characters right where he introduced them. And that is the genius of Reno, people who lead the extraordinary lives, encounter countless moral lessons, and fail to learn anything, staying instead in their insular and incompetent universe.

That's the review of a Reno fan, take it for what it's worth.

Mr. Green