Writer and series creator Rob Thomas (The CW’s “90210,” 2008-2013) makes his feature-length directorial debut with “Veronica Mars,” a follow-up adaptation to his own CW mystery drama of the same name. Starring Kristen Bell (“Frozen,” 2013), who returns to reprise the role of its eponymous protagonist, the film takes place almost a decade after the events of the third season. 

Having left her private investigative days behind, Mars is gunning for a career in law when she receives news that her former flame Logan Echolls (Jason Dohring; “Searching for Sonny,” 2011) is in hot water—he’s been accused of murdering his popstar girlfriend Carrie Bishop (played by real-life singer Andrea Estella), throwing her right back in her hometown of Neptune, and a past that seems to have a vice-like grip on her life.

It’s also, fortunately, the kind of grip Rob Thomas holds over his film—he knows exactly what he wants, whether in tone or narrative. Considering the film brings him back to his comfort zone, it shouldn’t be surprising. Still, any skepticism for film adaptations of television shows is natural—not every movie can be a “Mission: Impossible.” For what it’s worth, “Veronica Mars” feels almost like an organic follow-up to its preceding television series. Thomas maintains the show’s 80s noir-esque aesthetic and a deliciously dark mystery. 

Fans of the show will love the slew of familiar faces here, too. From the protagonist’s two besties played by Percy Daggs III (“Detention,” 2011) and Tina Majorino (“Napoleon Dynamite,” 2004) to recurring faves Ryan Hansen (G. I. Joe: Retaliation,” 2013), Max Greenfield (FOX Series “New Girl,” 2011-present), and Ken Marino (“In a World,” 2013), the movie is packed to the brim with all sorts of OMG-I-know-them appearances that—depending on your tastes—you’ll either love or find cynical. 

While Thomas’ true intent behind stuffing in these appearances isn’t necessarily known, that doesn’t discount viewers’ possible enjoyment of the film. The soundtrack is an absolute bop, featuring music by singer-songwriter Sufjan Stevens and Max Schneider, among others—“Chicago,” in particular, by the former, works perfectly in one of the movie’s coziest moments. (For die-hard Marshmallows, the motif—“We Used to Be Friends”—by The Dandy Warhols and Alejandro Escovedo comes back with a faux-unplugged coat of paint).

“Veronica Mars” wouldn’t have worked without Kristen Bell and her perfect balance between sharp wit and deep vulnerability. Its film adaptation doesn’t just bring it back—it shows her evolution as a character, trying as much as possible to keep her past at bay, however unsuccessful. Jason Dohring brings back Logan’s broody bad-boy vibe, and his overall chemistry with Bell is a fun—if less intense—throwback to “Jagged Edge” (1985). 

While the rest of the returning cast is competent, the only one who makes a difference is Enrico Colantoni (CBS crime drama “Person of Interest,” 2011-present), who reprises the role of Veronica’s father, Keith. Far from the concerned underdog in season 3, the person we see here possesses deep bitterness, regret, and concern for his daughter. Colantoni kicks it out of the park here from the first scene to the last and remains as memorable as ever.

The biggest problem “Veronica Mars” faces here is its strained scope. While every cent of its crowdfunded $6 million budget seems to have been efficiently utilized throughout, Rob Thomas can’t make it feel cinematic enough to warrant a feature-length installment. Add to it the seemingly endless fan service, and we’re left with what feels like an extended final episode than a film.

Thankfully, those issues don’t really matter in the long run. Thomas’s trademark whip-smart writing and Bell’s excellent return in and as “Veronica Mars” make the film an absorbing little mystery that somehow just works—and if you’ve been marathoning the show to catch up, your viewing experience will feel all the more fulfilling. It’s witty, it’s evolved, it’s slick, and—more importantly—a whole lot of fun. Recommended.