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.
Kids' movies may be the most difficult cinematic mountains to climb. The filmmakers must cater to two perspectives at constant odds with one another: young ones who find amusement in simplistic stories and broadly painted humor and their parents who need enough of a grounded hook emotional core and clever jokes to keep them from nodding off. Not an easy task.
To see this winning combination pulled off by a 3-D animation/live-action hybrid adaptation of a rather irritatingly sweet cartoon from the '80s…well it's both a shocking and welcome surprise. The Smurfs transcends recent property-grabs like Garfield Alvin and the Chipmunks and Marmaduke by embracing the cartooniness relishing in the fact that it can get away with anything with the help of adorable little blue people.
Smurfs takes the model employed by 2007's Enchanted kicking things off in the colorful fantasy world of Smurf Village and quickly bringing its cheery clueless characters to the terrifying metropolis of New York. After Clumsy Smurf accidentally leads the Smurf-obsessive Gargamel (Hank Azaria) to the hidden mushroom haven of his brethren the bumbling black sheep of the Smurf family finds himself and a few clan members Papa Brainy Grumpy Gutsy Smurfette at the wrong end of a Blue Moon-induced worm hole. The group (along with Gargamel and his cat) find themselves face-planted in NYC's Central Park where they meet Patrick Winslow (Neil Patrick Harris) yes man to the cosmetic titan Odile. This sets the race in motion—the Smurfs enlisting the help of Patrick to find a way back home Patrick seeking the perfect ad campaign for Odile's new make-up line and Gargamel questing hungrily for a few drops of Smurf essence.
If Smurfs was simply a barrage of fart jokes and pop culture references the movie wouldn't click but by giving each of his characters something to do (seems obvious no?) director Raja Gosnell injects the film with a helpful dose of heart. Along with Clumsy's quest to be more than his name insists Harris' Patrick also has his own problems to overcome. Namely preparing to be a Papa Smurf to the kid he's about to have with his wife Grace (Glee's Jayma Mays). Harris and Mays take their roles here seriously going all out when they need to chase the adventurous Smurfs around town in one slapsticky sequence after another but they put just as much into their smaller scenes. One moment where Papa Smurf sits Patrick down for a "Dad talk" even has weight—a near impossible task for a "kids" movie.
But let's not get too sappy: the movie is funny plain and simple. Azaria makes a living bringing cartoon characters to life—he's a reason why The Simpsons has been on for more than 20 years—and his goofy Gargamel antics are inspired. A recurring gag where the evil wizard continually steps through ventilation steam grates probably read fine on paper but Azaria knows how to play big and doesn't allow any moment of physical comedy to lazily fall through the cracks. On the flip side Harris nails the straight man role and acknowledges that hanging out with Smurfs is just as bizarre as you'd imagine. Think The Brady Bunch Movie for the world of animation.
With solid kids' flicks becoming a rare occurrence Smurfs is a breath of fresh air a film that believes in its own simple message while simultaneously being self-aware of its cartoonish heritage. The movie's a smurfy good time but it takes a particularly smurfy Smurf to let go of cynical baggage and smurf it.
WHAT IT’S ABOUT?
Writer/director Woody Allen chose to remain behind the camera for Whatever Works employing Larry David as his muse. The Curb Your Enthusiasm star plays a cranky pessimist who becomes the initially unwilling husband to a much MUCH younger Southern girl with a father fixation. But when her conservative mother arrives all hell breaks loose as Mom tries to drive her daughter away from the old guy and toward a much younger model. But New York City has a strange effect on everyone and soon everyone in this very disparate group learns the best things in life are really “whatever works.”
WHO’S IN IT?
Forgoing the umpteenth opportunity to play the May/December romance bit again Allen turns over the starring role to David in an inspired bit of casting about which it’s simply impossible to curb your enthusiasm. David given hilarious monologues that riff on life and border on a constant stream of doomsday analysis is perfect casting in Allen’s peculiar New York world. What’s most surprising is he actually creates a three-dimensional character we grow to care about even though the flow of one-liners rarely stops. As the super-conservative Southern yokel mother-in-law Patricia Clarkson is equally at home in Allen’s universe and takes the stereotypical role into unexpected places. As the innocent ex-beauty queen who bounces into David’s life Evan Rachel Wood practically channels a backwoods Tammy persona but somehow it works well enough for us to believe she could actually fall for such a cranky old man. Also of note is Ed Begley Jr.’s terrific turn as her pious father and estranged hubby of Clarkson who shows up near the end and defies all convention.
After a sojourn abroad first to England for his expert thriller Match Point and the less successful Scoop then to Spain for last year’s delightful Vicky Cristina Barcelona Allen returns triumphantly to his New York roots for the first time since 2004’s Melinda and Melinda. Despite the absence he hasn’t lost a beat when it comes to his very singular view of the Big Apple and its inhabitants. Casting David was the masterstroke that makes this one stand out as one of the prolific Allen’s (he turns out a film a year) most consistently amusing works in some time.
Whatever Works is very slight and feels more like one of the comedian’s New Yorker short stories than a fully fleshed-out motion picture. But when you’ve got this kind of sharp dialogue and these performers it’s hard to quibble about substance.
NETFLIX OR MULTIPLEX?
Whatever works for you but if you’re a Woody Allen or Larry David fan it’s a must wherever you see it.
Walt Disney animation’s first foray into 3D ‘toon making isn’t just a technical triumph it thankfully also tells the clever story of Bolt (John Travolta). He’s a superstar TV canine who believes the superpowers he displays weekly on his series are for real --especially when it comes to the protection of his master and co-star Penny (Miley Cyrus). One day however the dog is accidentally shipped from his Hollywood soundstage to New York City. Lost alone and confused on the streets of the Big Apple Bolt is still living the show vowing to get to Penny who he believes has been kidnapped by the “green-eyed man.” And so he embarks on a cross-country journey to L.A. to save Penny. Along the way he is joined by an abandoned wily housecat Mittens (Susie Essman) and a TV-loving hamster Rhino (Mark Walton) who believes everything he sees on the tube is ALSO real. Of course Bolt is in for rude awakening when he finds out he is just a regular dog but he still needs to get to Penny -- even if it means she might not be there for him when he returns. Disney is not a studio that generally depends on superstar voices for their animated films but in casting Travolta and tween queen Cyrus they have scored a bullseye. Travolta’s Bolt is a delightful cross between the self-assured superstar and a pooch in denial. The actor doesn’t phone it in but instead creates an original and loveable dog that stands proudly in Disney’s large canon of canine greats. The action scenes created for Bolt’s TV series are lots of fun and the interactions with his traveling companions are choice. As Penny Cyrus is sympathetic sincere and she even gets to sing a duet with Travolta “I Thought I Lost You ” which she co-wrote. The show is nearly stolen though by comedian Susie Essman (Curb Your Enthusiasm) as Mittens -- a smart determined and emotionally wounded pet cat abandoned by her owners and forced to wander the streets alone. And by Mark Walton as the hilarious Rhino the obsessive fanboy hamster who rolls around in his ball. Walton is actually an animator in real life who happened to be so good at voicing Rhino during tests they just gave him the job. Disney vets Chris Williams and Byron Howard capably usher the venerable Disney label into the brave new world of 3D animation and the results are promising -- putting the audience right in the center of Bolt’s universe. The TV series action set pieces are particularly effective in using the technology. It’s not even necessary to see the film in 3D because the whole CG process has come a long way in a few short years and Bolt is one of the best looking most accomplished animated films in memory -- glasses or no glasses. Williams and Howard expertly blend humor pathos and blockbuster-style action scenes effortlessly giving “Bolt” an appeal beyond just the target kid demo.
Based on British mystery writer P.D. James’ rather downbeat novel Men takes place in the not-too-distant future where the world is definitely not right. In fact society is facing extinction since the human race has lost the ability to reproduce; there hasn’t been a new child born in 18 years. But as the tagline reads “…all that can change in a heartbeat.” While the rest of England is unraveling as civil unrest runs rampant a young woman named Kee (Clare-Hope Ashitey) is found miraculously pregnant and Theo (Clive Owen) a disillusioned government agent agrees to help secretly transport her to a sanctuary at sea where her child's birth may help scientists save the future of mankind. So sets in motion a race against time fraught with many horrific obstacles. Children of Men collects a first-rate cast. Leading the pack is Owen as yet another reluctant antihero. It’s a good part for the somewhat depressive actor who seems at ease when everything is going to hell around him (see Inside Man Closer etc.). Theo is initially drawn into the Kee conflict because his ex-wife a terrorist/activist--played with brief but quiet determination by Julianne Moore—asks him to. See they share their own personal tragedy so saving Kee and the baby becomes even more important to them. Newcomer Ashitey shines as Kee who really doesn’t understand at all what is happening to her but has a fair amount of spunk anyway. Other standouts include Chiwetel Ejiofor (Kinky Boots) as one of Moore’s compadres with his own nefarious agenda and Michael Caine as an old friend of Theo--a throwback to a more peaceful time. Representing both old and new school Ejiofor and Caine are actors you can simply put in any film and somehow they will make them that much better. But Children of Men’s true brilliance comes from its creator. Co-writer/director Alfonso Cuaron is simply one of the most exciting cinematic storytellers working today. No genre is out of his reach. He has done kiddie flicks (A Little Princess) sexy coming-of-age dramas (Y Tu Mama Tambien)—and even a splashy Harry Potter installment (Prisoner of Azkaban probably the best one so far). And now Men a futuristic thriller that he crafts with absolute bone-chilling effect. Cuaron’s world is not a very happy place with the skies consistently gray with pollution and violence injustice and human cruelty around every corner. When Theo and Kee are on the run you’re expecting the worst at any moment but that’s not really where Cuaron’s head is at. He wants us to have hope. As the director puts it in the film’s production notes “Humanity has an amazing talent for destruction. But also we can show solidarity and an ability to come through problems together. In the end Children of Men isn’t so much about humanity being destructive—its more about ideologies coming between people’s judgment and their actions that is at work in this story.” I couldn’t have said it any better.