A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
127 Hours the new film from Slumdog Millionaire’s Academy Award-winning writer-director duo Simon Beaufoy and Danny Boyle feels like it was made in the titular time frame. The movie is choppy and fast-paced like the adventures of its daredevil protagonist Aron Ralston who amputated his own arm after an accident in the cavernous regions of Moab Utah in 2003. This kinetic style of filmmaking (similar to how Slumdog was produced) succeeds in artistically recreating the horrific events of those five painful days but prevents the audience from developing an essential emotional connection with the character and renders the movie limp with more style than substance.
The story begins with Mr. Ralston’s (played adequately by James Franco) ritualistic preparation for intense outdoors activities. He ignores his mother’s phone call (and it’s clearly not the first time he’s done this) so he can begin his extreme expedition that much faster. This selfish attribute is true to the character and foreshadows his eventual arc but Boyle stumbles around with irrelevant narrative detours involving a pair of female thrill-seekers and a barely-seen sister and ex-girlfriend. These subplots are ultimately counter-productive and feel out-of-place.
Instead of providing the character’s backstory through a traditional prologue we learn about Ralston’s past through his own sleep/food/water-deprived hallucinations while he’s stuck beneath a boulder at the bottom of a canyon. In this grim ill-fated state the audience is supposed to feel remorseful and on a basic level of human compassion we do. However it’s difficult to sympathize with a character as arrogant and narcissistic as Ralston who admits that he’s brought this situation on himself.
In terms of craft Boyle is at the top of his game. Aron’s spiritual breakthrough is dramatized by surreal visual sequences that deliver the most moving imagery in the entire film. His use of sound effects particularly enhanced the harrowing experience as do the realistic prosthetics used to depict his bloody sacrifice.
Though the film has the tension and suspense that made similarly-themed survival tales like Castaway and Rescue Dawn moving it lacks an introduction that builds a bond between audience and character debilitating the effect of Aron’s eventual triumph. Many will rejoice when they see Ralston emerge from his mountainous prison a wiser and more appreciative man but there’s never much reason to root for him throughout the picture unless you’re simply hoping for a happy ending.
Does anyone really love Phillip Morris? The embattled gay-themed film, which has seen its US release date switched at least three times, is now facing an injunction that would prevent such a release.
The Hollywood Reporter Esquire blog reports that a legal battle between producer EuropaCorp. and US distributor Consolidated is at the root of the injunction.
Jim Carrey and Ewan McGregor star in the Glenn Ficarra/John Requa film that was produced by Luc Besson's EuropaCorp. US rights were sold to Consolidated Pictures Group but Europa says it never got the full $3 million advance that Consolidated agreed to pay last year.
In April, EuropaCorp rescinded its distribution agreement and filed suit against Consolidated alleging breach of contract and copyright infringement. The studio demanded the return of the movie and marketing materials.
At the time, CPG's Timothy Patrick Cavanaugh denied the company had lost the picture, telling Deadline: "We're the distributors right now, we have a contract and we're asking Europa to deliver certain things.
We've hired legal counsel, and if we need to go to arbitration, we will. We plan to distribute this film." Now Judge Dale Fischer says EuropaCorp. is likely to succeed on the merits of its claims and portrays the defendant's arguments as weak, THRE explains. The dispute will now head to IFTA arbitration.
"This was only a preliminary ruling pending a final determination by the arbitrator," Consolidated's lead attorney Robert Chapman told THRE. "We believe the arbitrator will find in favor of my clients."
Europa lawyer Dale Kinsella told THRE: "No amount of spin from Consolidated can mask the fact that Europa persuaded a federal district judge that Consolidated breached the contract by never having paid a dime for this picture, and that they had therefore no right to claim to be a distributor or claim to distribute the film, period. Nothing in the judge's order in any way effects Europa's right to distribute the film from this point forward."
In other words The Holiday probably falls under the “guilty pleasure” category. Its not a classic romantic comedy by any standards but darn it it still makes you smile more often than you want to admit. The story centers on two women: Iris (Kate Winslet) a British newspaper columnist hopelessly in love with a man about to marry someone else and Amanda (Cameron Diaz) a highly successful L.A. career woman who just broke up with her latest cheating boyfriend. Being at the right place at the right time these two gals meet online at a home exchange website and impulsively switch homes for the holiday. Shortly after arriving at their destinations both women find the last thing either wants or expects: A new romance. Amanda is charmed by Iris' handsome brother Graham (Jude Law) and Iris with inspiration provided by legendary screenwriter Arthur (Eli Wallach) mends her heart when she meets film composer Miles (Jack Black). Oh just go ahead and take a big gooey bite. It’s good for the soul. The biggest problem in The Holiday is unfortunately the casting—which is real shame because you really want the chemistry to zing. They get it right with Winslet and Law who are both trying something a little different as romantic leads. Winslet in fact admitted to Reuters this was one of the more nerve-wracking parts she’s ever played because she couldn’t hide behind an American accent or a costume playing someone closer to well herself. But you would think these two Oscar-nominees had been making these type movies all along especially the insanely gorgeous Law who should have every woman swooning with his sensitivity. Where they get it wrong is with the Americans as the Brits just act giant circles around them. Black is clearly out of place. Although being very charming and funny looking like he made Winslet laugh a LOT (and who wouldn’t with that guy around?) their connection on screen is somewhat amiss. Diaz comes off looking even worse. Even though she’s the veteran of the romantic comedy (There's Something About Mary My Best Friend's Wedding) her screechy neurotic klutzy Amanda is in no way appealing. You have to scratch your head wondering why Law’s Graham would fall so hard for her. What does make The Holiday work however is writer/director Nancy Meyers. She’s proven herself quite adept at the genre with films such as What Women Want and Something's Gotta Give under her belt. With The Holiday Meyers skillfully crafts individual moments of refreshing comedy as well as heartening scenes of blossoming romance. The initial seduction scene between Amanda and Graham is particularly sweet and quirky with the crisp dialogue flying at a nice clip. And isn’t it comforting to see a holiday movie minus feuding neighbors commerciality or any sort of mean-spiritedness? But Meyers has the tendency to go more for the superficial rather than dig deep with her characters. The Holiday has a one of those glossy rosy glows whose only aim is to make you feel good. True the film will mostly speak volumes to the women in the audience (that’s a polite way of saying its a “chick flick”) but oh well. It’s fluff may be a nice reprieve during the hustle and bustle of the season.