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.
Sift through comments on franchise sequel announcements and you'll find many crying afoul to Hollywood's insistence of resurfacing every last brand in their bank of titles. The desire for original content is reasonable but occasionally a cinematic follow-up does have the potential to be rich and rewarding. Revisiting characters who've seen time pass in their own lives is worthy of exploration — Peter Bogdanovich's Texasville Richard Linklater's Before Sunset and even A Very Harold & Kumar Christmas prove that theory. American Reunion reaches for that same dramatic arc reentering the lives of its core cast eight years after American Wedding. But instead of mixing comedy with any weighty issues the movie only tickles the nostalgia bone (and without f**king one pie in the process) — a hurdle that keeps American Reunion from being nearly as riotous as the original.
Life hits a wall for Jim (Jason Biggs) in 2012. He's a happily married man a father and a moderately successful employee of a faceless company. But after catching his wife Michelle (Alyson Hannigan) enjoying the company of a shower head it dawns on Jim that he's in need of a shake-up. Perfect timing: Jim packs up the family and heads to his hometown for his 13th high school reunion (sure why not) where he reunites with the old gang: Kevin (Thomas Ian Nicholas) currently whipped into submission by his girlfriend Finch (Eddie Kaye Thomas) back from a trip around the world Oz (Chris Klein) now a superstar sportscaster fresh off a celebrity dance show stint and Steve Stifler (Seann William Scott) a law firm temp who continues to turn women into his own personal squeeze toys. The high school buddies devolve quickly into their old habits alcoholic antics and potty-mouthed rants by the red solo cupful. Good fun for Jim no fun for Michelle.
Instead of digging deep into its well-founded characters (which I swear is allowed in a raunchy R-rated comedy) American Reunion sticks to the familiar goofball scenarios of its predecessors. Which is passable because the core group who stuck through all three movies — Biggs Nicholas Thomas and Scott — make poop-infused pranks and slapstick shtick like a scene in which Jim and co. must get a drunken naked eighteen-year-old back into her parents' house without looking like total creepsters highly entertaining. Scott once again proves him an underused comedic talent making Stifler one of the few characters who can rattle off colorful cuss words while showing a glimmer of humanity. Same goes for Eugene Levy as Jim's Dad who finds his role beefed up now that he's once again single. Grieving for years over his wife's death Jim helps his advice-dealing pop hit the dating scene and Levy spins gold out of the silliest of situations.
The problem with American Reunion is everyone else. Chris Klein never clicks with the rest of the group (that's what he gets for skipping out on Jim's wedding) while the rest of the ensemble feel ham-fisted for cameo purposes rather than complimenting the storyline. Tara Reid and Mena Suvari return to the franchise to stand around and react to the ineptitude of their male counterparts. Natasha Lyonne is in and out faster than Jim's first time. Other brief character appearances are like bigfoot sightings. The idea of bringing the entire cast of the original back for more seems perfect but without proper pacing from writers/directors Jon Hurwitz and Hayden Schlossberg (Harold & Kumar Escape from Guantanamo Bay) there's never a moment to enjoy it.
American Reunion is a flaccid entry servicing fans while coming through with enough laugh out loud moments to make one scream (In one scene Jim takes a page out of Michael Fassbender's Shame that will elicit audible reactions). If these were fresh characters we'd brush it off — but at the film's core is a lovable familiar bunch of knuckleheads that can't be ignored. And if Stifler wants to party you party.
In the 2006 animated blockbuster Happy Feet an alienated emperor penguin named Mumbles found empowerment through tap-dancing and in so doing managed to both attract a mate and stop the overfishing that imperiled his Antarctic habitat. Directed by George Mitchell – the same George Mitchell who gave us the post-apocalyptic Mad Max trilogy and the almost despairingly bleak Babe: Pig in the City – Happy Feet paired its broadly conventional narrative with a darker sensibility not often seen in talking-animal fare.
The film’s sequel Happy Feet Two finds Mitchell (co-directing with Gary Eck) both more jovial and more easily distracted. The story begins straightforwardly enough with Mumbles (Elijah Wood) now grown-up and by all appearances well-adjusted ceding the mantle of self-discovery to his son Erik (Ava Acres). Boogie fever has swept the once dance-averse penguin nation but in a cruelly ironic twist Erik has inherited none of his father’s nifty moves. But just as Happy Feet Two appears intent on recycling its predecessor’s basic storyline the film abruptly changes course and embarks on a series of detours that seemed geared more as fodder for throwaway gags and showy set pieces than anything else. The disparate narrative elements while enjoyable in isolation never quite coalesce into a meaningful whole leaving us entertained but unfulfilled.
As before Happy Feet Two features a variety of buoyant song-and-dance numbers with Alecia Moore (aka P!nk) lending her formidable pipes to spirited re-workings of “Rhythm Nation” and “Under Pressure ” among others. Robin Williams returns for double duty as both Ramon a diminutive oversexed Latin lover and Lovelace a fiery Southern-preacher type. (Lovelace later adopts a Rastafarian dialect allowing Williams to achieve the rare culture-caricature trifecta.) His voracious scenery-devouring is all the more impressive given the grandeur of the scenery. Not to be left out of the quasi-Vaudevillian comic shenanigans Hank Azaria lays on a thick Scandinavian shtick as Sven a charismatic Arctic émigré who presents himself as the only penguin in the world who can fly. Azaria is a hoot but the film’s best moments come courtesy of the cast’s highest-profile additions Matt Damon and Brad Pitt voicing Bill and Will (respectively) two tiny krill in search of meaning at the bottom of the food chain.
It’s been 45 years since Peter Sellers was unleashed as the bumbling Inspector Clouseau in the delicious Pink Panther. That 1963 film spawned numerous sequels and cartoons and in 2006 the baton was passed to Steve Martin -- who hatched a worldwide hit with his version of the French detective. In this meandering gag-laden sequel Martin is assigned to join a team of other famed international detectives and crime wizards to crack a case where priceless treasures are being stolen around the globe including of course the iconic Pink Panther diamond. Again aiding Clouseau in his own cause are his partner Panton (Jean Reno) and Nicole (Emily Mortimer) for whom he still has those amorous feelings. Let’s face it no one could top Sellers in this role and it’s wise that Martin doesn’t really try instead taking the character more toward The Jerk. Whether inadvertently burning restaurants down to the ground juggling wine bottles (in a particularly lame sequence) mangling the English language imitating the Pope or spouting hopelessly politically incorrect bon mots like calling an Asian colleague “my little yellow friend ” Martin plays it broadly and safely. As the quartet of international detectives brought in to solve the case with Clouseau Andy Garcia Alfred Molina Yuki Matsuzaki and gorgeous Aishwarya Rai Bachchan do everything they can to keep from being totally upstaged by Martin’s nonstop antics but it ain’t easy for any of them. Also of note: John Cleese takes Kevin Kline's place as Clouseau’s exasperated boss and Lily Tomlin Martin’s All of Me co-star are reunited here to teach him properly correct social etiquette. With a cast of capable comic veterans like this all any director would have to do is point the camera and make sure it’s in focus. And that seems to be ALL Dutch helmer Harald Zwart (Agent Cody Banks) has done. The PP template has been dumbed down to appeal to young kids and despite its picaresque Paris and Rome locations this comes off as surprisingly flat with a lot of comic possibility left twisting in the wind.
February 18, 2003 10:38am EST
At the tender age of 12 Matt Murdock (Ben Affleck) was splashed in the eyes with radioactive waste and lost his sight--but his other four senses developed with superhuman sharpness. He grew up to become a bleeding-heart lawyer running a law practice with his best friend Foggy Nelson (Jon Favreau) and chasing beautiful women including the bright and fearless Elektra Natchios (Jennifer Garner). By night he is the masked vigilante Daredevil using his incredible senses and abilities to defend the downtrodden in New York City's Hell's Kitchen. Daredevil the movie stays true to all the elements that are pervasive in the Marvel Universe: drama love action violence revenge a spiteful police department and best of all the probing reporter on a quest for the truth. Here moviegoers will become familiar with events that become catalysts in Daredevil's crime-fighting career including the death of his father (David Keith) at the hands of the mob and the victimization of those close to him. The villainous underworld figure Wilson Fisk a.k.a. Kingpin (Michael Clarke Duncan) and his hired hand the psychotic killer Bullseye (Colin Farrell) are also introduced as Daredevil's foes--and the battle between good and evil is born in this gritty urban borough.
Daredevil's appeal is that he does not possess any superpowers which made Affleck (Sum of All Fears) a good choice to portray this rather vulnerable crime fighter. While he beefed up for the role Affleck still retains that guy-next-door quality that makes both Murdock and Daredevil so relatable. His love interest in the film Elektra is played by Garner better known as Sydney Bristow on ABC's Alias. Elecktra is as brawny as she is brainy and Garner is the perfect fit for the character: she's gorgeous in a non-Hollywood kind of way and convincing as skilled fighter. Playing Murdock's lifelong friend and partner Foggy Favreau's (Made) role here is the most low-key of the bunch but he delivers some comic relief with some really funny lines. As far as villains go no one could be better suited for the role of Kingpin than the larger-than-life Duncan (The Scorpion King). This massively muscled character had to be played by someone with a powerful presence and sophisticated intellect making Duncan the ideal candidate. Rounding out the malefactors is Farrell (The Recruit) who churns out a powerful performance as the psychotic killer Bullseye complete with the nervous twitches and shifty eyes.
The decision to place Mark Steven Johnson at the helm of Daredevil was a little surprising. His 1998 directorial debut Simon Birch and his screenwriting credits Grumpy Old Men and the astoundingly bad Jack Frost hardly seemed on a par with an action adventure feature like this. The fact that Johnson hasn't worked extensively with digital effects becomes apparent in some of the film's action sequences that include a CGI Daredevil running upside walls and taking giant leaps from rooftop to rooftop. The completely animated version of Daredevil doesn't behave naturally and lacks details such as muscles texture highlights and shadows. But Daredevil didn't have a huge budget (compared to Spider-Man at least) and what it lacked in f/x it made up for with a gripping and gritty story line. Daredevil's mission is to rid Hell's Kitchen--not the universe--of as much crime as he can and his vendettas are personal--and grotesquely violent. More importantly Johnson's screenplay stays true to the comic book characters and their attributes. Fans of the comic book will appreciate his truthful touches such Bullseye's maniacal talents which include being able to turn a paperclip into a deadly weapon and Kingpin's ritualistic removal of his blazer before pounding the snot out of adversaries.