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.
WHAT IT’S ABOUT?
Pixar makes it ten gems in a row with this enchanting animated story of 78-year-old Carl Fredricksen a recent widower who decides to fulfill his (plus his late wife’s) lifelong dream of tying thousands of balloons to their house and floating off to a mountaintop in South America. But he soon discovers a stowaway in the form of Russell a precocious eight-year-old “Wilderness Explorer” who he reluctantly allows to accompany him on his journey. Together the unlikely pair embark on the adventure of a lifetime encountering Kevin a rare 13-foot tall-flightless bird; Dug an overly-friendly talking pooch; and Charles Muntz a once-famous adventurer who now lives alone in a massive airship surrounded by a pack of attack dogs.
WHO’S IN IT?
Sticking to their general custom of casting actors not big stars in key voice roles Pixar assembled a superb cast for Up led by veteran TV star Ed Asner (The Mary Tyler Moore Show) as the aged Carl who takes flight in his house and finds there is a lot to learn about life even as you near death. Asner’s grumpy delivery provides the perfect counterpoint to nine-year-old Jordan Nagai’s Russell a bright and optimistic kid who proves an invaluable assistant to Carl throughout their journey. Christopher Plummer (The Sound of Music) is authoritative and intriguing as the obsessed Muntz and John Ratzenberger (Cheers) extends his streak of Pixar films to 10 as a construction engineer who tries to convince Carl to sell his house. Bob Peterson does delightful double duty as two of the key dog voices lovable Dug and the menacing Alpha head of the pack.
Like Pixar’s previous Oscar-winning masterpiece Wall-E Up is a ‘toon that is not content to explore the same places we’ve seen in previous animated blockbusters. Centering an action comedy around a 78-year-old man isn’t a strategy you’ll find in the youth-obsessed Hollywood recipe book but it pays great dividends here with a moral that life’s greatest adventure is the one you share with someone you love. The non-humans — particularly Kevin and Dug — are hilarious and unique and a silent sequence detailing the courtship and marriage of the Fredricksens is a sweet touch that could have come straight out of a Charlie Chaplin movie.
With a string of critically-acclaimed hits that includes Toy Story Finding Nemo The Incredibles Ratatouille Wall-E and now Up Pixar is ruining it for everyone else. There is simply no way they can be topped when it comes to pushing the boundaries of animated movies. Bad for other studios. Good for us.
Could Up which just became the first animated film to open the Cannes Film Festival also become the first to be nominated for the Best Picture Oscar since Beauty and the Beast in 1991 (before the Animation category was even established)? At this point in the year it’s actually a good bet. Whatever the case expect Up to earn several nominations come Oscar time.
A swashbuckling swordfight across the skies between two near-octogenarians? It’s the best action scene in a summer full of ‘em.
NETFLIX OR MULTIPLEX?
Oh pleeeeeease! Get to a theater fast. Up is also available in 3-D at select locations. Either way it’s a must-see.
Larry the Cable Guy: Health Inspector opens with a man scratching his plumber’s-crack re-using a cotton swab to clean his ear and wearing the sleeveless shirt he uses as a towel. Naturally this is Larry (the Cable Guy) a health inspector. Halfheartedly inspecting the local food joints he’s leading the life that suits him well. But when his boss (Thomas F. Wilson) assigns him a serious-minded female partner (Iris Bahr) his world is turned upside down--or at least made less comfy. Larry’s called in to investigate “some fartin’ Jewish folks” at a swankier restaurant and learns that it’s not an isolated incident. While Larry’s unorthodox methods manage to arouse the interest of a waitress (Megyn Price) with bowel habits that he adores his tactics arouse the ire of the restaurateurs he investigates and it costs him his job. Now he’s forced to do whatever it takes to prove his innocence. Even the D-listers here must’ve gone straight to confession upon accepting these roles to help cushion their bank accounts. Let’s start with Larry the Cable Guy (of the Blue Collar Comedy Tour “Git-R-Done” fame) who is one of the most successful stand-up comics today. He’s right in his element seemingly with fart blanche on toilet humor but to the unconverted he’s a little more than grating. Speaking of grating the (hopefully) affected voice of Bahr makes the movie mostly unlistenable in addition to being unwatchable. But take pity on her for this is no way to jumpstart a movie career. Tony Hale clearly still reeling from the potential cancellation of TV’s Arrested Development (on which he plays Buster) also lowers his star and integrity with an ambiguous character here. And Joe Pantoliano shows his face. The once great character actor reaches a new low with this one even if his performance isn’t all bad. Health Inspector masters the art of the fart. But more disgusting than the settings with which the farts are juxtaposed is the ad nauseam (pun intended) level of over-usage. So congratulations go to along with fart Yoda Larry the Cable Guy director Trent Cooper who makes his feature directorial debut. And might we add what a fart-tastic debut it is! But it’s not all farts ladies and gentleman--all forms of gross-out humor are exploited unlike ever before. On the er serious side the collection of running jokes adds to a few legit laughs. Cooper helms a story that naturally doesn’t work deferring instead to Larry’s natural um charisma. The script offers no segue into Larry’s stand-up persona but anyone who sees this here flick ain’t lookin’ for no dang Oscar winner. Clearly Health Inspector will appeal to Larry’s following but is not meant for those of sound mind.