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 I’ve always admired about Adrien Brody is his project-choosing process. He takes on big studio flicks like King Kong and Predators from time to time but for the most part he’s a maverick sticking to independent or avant-garde fare in which he’s able to express himself with artistic integrity through unorthodox narratives. Such is the case in Wrecked his new film that sounds like Danny Boyle’s 127 Hours on paper but is far more disconcerting than that true tale of survival.
The story begins at the bottom of a featureless ravine inside a broken-down car that’s apparently been run off the road. In the passenger seat is an unnamed Man (Brody) who is trapped in shotgun while the body of a stranger rots in the backseat. Adding to this disturbing scenario is memory loss – the Man can’t recall how he got there or who he is. As dehydration starvation and exhaustion set in the line between reality and delusion blurs and the audience goes on a strange trip of rediscovery with the enigmatic prisoner.
While the linchpin in Boyle’s film is James Franco’s performance Wrecked relies more on the atmospheric direction of Michael Greenspan who makes his feature debut with this surreal picture. That’s not to say that Brody doesn’t deliver an unnerving portrayal of a man in a grave situation. As he moans and writhes in and out of his seat you can’t help sympathizing with him though screenwriter Christopher Dodd concocts a backstory that removes whatever remorse you had for him at times while piquing your curiosity at others. He heightens the anxiety of the unknown with a spooky score longer-than-average shots and a few bizarre situations. The natural environments and minimalist screenplay aid the filmmaker in creating his eerie tone despite the picturesque setting which would be calming if not for some perplexing hallucinations related to the Man’s past predicament.
Unfortunately the bare bones script is also the biggest problem with Wrecked as the film like its protagonist doesn’t really go anywhere. The revelations come far too quickly resulting in a boring anti-climactic effect. Even though there’s some distressing fun to be had while getting to the finish line it’s a sterilized psychological thriller that brings to mind films like Brad Anderson’s The Machinist but fails to achieve that level of ambiguous magnetism.
Comedy is king.
In what is obviously a strong indication that moviegoers want to laugh more than anything, the new heavenly comedy Bruce Almighty, starring Jim Carrey, ruled at the box office over the four-day Memorial Day weekend with a smashing $86.4 million*, stealing the crown from reigning champion The Matrix Reloaded. The sci-fi sequel came in second with a meager $45.6 million, down 60 percent from its strong opening last weekend.
Bruce Almighty's three-day total of $70.8 million makes it the best non-sequel comedy opening of all time, as well as the best Jim Carrey opener ever, toppling his personal best Dr. Suess' How the Grinch Stole Christmas, which opened in November 2000 at $55 million.
Universal Pictures distribution president Nikki Rocco told Reuters she had expected the film to open in the $50 million to $60 million range. "I think it's a very moral film," she said.
While Carrey was obviously the key attraction, co-star Jennifer Aniston's presence and the romantic elements possibly accounted for the larger-than-usual female turnout. Women accounted for 53 percent of the audience, according to exit polling data, Reuters reports. Carrey's movies usually do best with young males.
But the record-breaking doesn't stop there. Bruce Almighty also becomes the second best Memorial Day opener ever, although the record still belongs to The Lost World: Jurassic Park, which opened in 1997 and took in $90.1 million over four days. And to add a little icing on the cake, it looks like this may turn out to be the best Memorial Day weekend in box office history with an estimated grand total of $155.8 million, beating out last year's record holder of $152.4 million.
Despite this weekend's big holiday grosses, this year has largely seen sub-par box office numbers, although comedies are showing a lot of muscle. In addition to Bruce Almighty, Bringing Down the House opened in early March and stayed on top for several weeks for a cume of $129 million, while Anger Management opened April 15 with $42 million and is still on the top 10 list with a cume of $131 million. In fact, of this weekend's 10 best, six are comedies.
This could be good news for the upcoming comedies including Dumb and Dumberer: When Harry Met Lloyd (June 13) and Legally Blonde 2: Red, White and Blonde (July 2).
THE TOP TEN
Universal Pictures' PG-13 Bruce Almighty debuted on top with an ESTIMATED four-day take of $86.4 million at 3,483 theaters. The film's $24,806 per theater average was the highest of any film playing this weekend.
The film follows a down-on-his-luck TV news reporter who blames God for all his problems--so God challenges him to take on the job and see if he can do it any better.
Directed by Tom Shadyac, it stars Carrey, Jennifer Aniston and Morgan Freeman.
Warner Bros.' R rated sci-fi sequel The Matrix Reloaded came in second with an ESTIMATED $45.6 million at 3,603 theaters ($12,666 per theater). Its cume is approximately $209.5 million.
In the trilogy's second installment, Neo, Trinity and Morpheus continue their battle against the Machines both in and out of the Matrix as mankind has just 72 hours before the destruction of the human city of Zion.
Directed by Larry and Andy Wachowski, it stars Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss and Hugo Weaving.
Sony Pictures' PG-rated Daddy Day Care dropped to No. 3 in its third week with an ESTIMATED $18 million (-26%) at 3,472 theaters (+64 theaters, $5, 184 per theater). Its cume is approximately $73.1 million.
Directed by Steve Carr, it stars Eddie Murphy, Jeff Garlin, Steve Zahn, Regina King and Anjelica Huston.
20th Century Fox's comic book sequel X2: X-Men United moved down a spot to fourth place in its fourth week of release with an ESTIMATED $13 million (-40%) at 3,067 theaters (-423 theaters, $4,258 per theater average). Its cume is approximately $192 million, heading towards the $200 million mark.
Directed by Bryan Singer, it stars Patrick Stewart, Hugh Jackman, Ian McKellen, Halle Berry, Famke Janssen, James Marsden and Rebecca Romijn-Stamos.
Another comedy made its debut at No. 5 this weekend. Warner Bros.' PG-13 The In-Laws took in an ESTIMATED $9.1 million in 2,652 theaters with a $3,443 per theater average.
In this remake, two prospective fathers-in-law meet for the first time on the eve of their children's nuptials, and the wedding cake literally hits the fan.
Directed by Andrew Fleming, it stars Michael Douglas, Albert Brooks, Candice Bergen, Ryan Reynolds and Lindsay Sloane.
In sixth place was 20th Century Fox's PG-13 romantic comedy Down With Love, which took in an ESTIMATED $4.1 million (-41%) in 2,118 theaters (-5 theater; $2,427 per theater). Its cume is approximately $14.6 million.
Directed by Peyton Reed, it stars Renee Zellweger, Ewan McGregor and David Hyde Pierce.
*Box office estimates provided by Exhibitor Relations, Inc.
Buena Vista's PG rated The Lizzie McGuire Movie fell a notch to No. 7 in its fourth week with an ESTIMATED $4 million (-33%) at 2,118 theaters (-540 theaters, $1,889 per theater). Its cume is approximately $37.3 million.
Directed by Jim Fall, it stars Hilary Duff, Adam Lamberg and Yani Gellman.
Buena Vista's PG rated 'tween comedy Holes held onto eighth place in its sixth week with an ESTIMATED $3 million (-27%) at 1,762 theaters (-470 theaters, $1,703 per theater). Its cume is approximately $60 million.
Directed by Andrew Davis, it stars Rick Fox, Sigourney Weaver, Jon Voight, Tim Blake Nelson and Shia LeBeouf.
Sony Pictures' R-rated psychological thriller Identity dropped three places to ninth in its fifth week with an ESTIMATED $2.6 million (-46%) at 1,590 theaters (-606, $1,635 per theater). Its cume is approximately $49.1 million.
Directed by James Mangold, it stars John Cusack, Ray Liotta, Amanda Peet, Rebecca DeMornay and Alfred Molina.
Sony Pictures' PG-13 rated comedy Anger Management also fell three rungs to come in 10th place in its seventh week with an ESTIMATED $2.4 million (-51%) at 1,809 theaters (-667 theaters, $1,327 per theater). Its cume is approximately $131.8 million.
Directed by Peter Segal, it stars Adam Sandler, Jack Nicholson, Marisa Tomei and John Turturro.
The Top 12 films this weekend grossed an ESTIMATED $155.8 million, just barely up a percent from last week when they totaled $154.6 million.
The Top 12 were up two percent from last year when they totaled $152.4 million.
Last year, Fox's PG rated Star Wars: Episode II Attack of the Clones stayed at the top of the box office Memorial Day weekend in its second week in release with $60 million at 3,161 theaters ($18,983 per theater); Sony's PG-13 rated Spider-Man also stayed put at No. 2 in its fourth week with with $35.8 million at 3,876 theaters ($9,240 per theater); and Warner Bros' Insomnia debuted in the third spot with $26 million at 2,610 theaters ($9,988 per theater).
Ali, starring Will Smith as the legendary heavyweight, broke the Christmas Day box office record with a healthy $10.2 million take-in, Columbia Pictures reports. Unfortunately, it wasn't able to topple the reigning king Lord of the Rings, which kept steady at No. 1, raking in another $11.5 million and bringing the film's total to $94 million since its release Dec. 19. The Meg Ryan/Hugh Jackman romantic comedy Kate & Leopold came in third with a paltry $2.6 million in ticket sales for the day. Harry Potter and the Sorcerer's Stone crept past DreamWorks' Shrek as the top grossing film this year, at approx. $268 million.
Oh, boy! We're finally going to see Michael Jackson's duet with Britney Spears of his 1987 hit "The Way You Make Me Feel" when CBS rebroadcasts Michael Jackson: 30th Anniversary Celebration on Jan. 9. The duet was originally left out of the original broadcast on Nov. 13 due to strict exclusivity agreements the networks are placing on top musical acts.
Kate & Leopold star Hugh Jackman got a few lessons in etiquette and in horseback riding, in order to portray an English gentleman from the 19th century. "I had to go to England and find out what it's like really to be aristocratic," Jackman said.
Jack Nicholson and Adam Sandler have decided to enroll in Anger Management classes, with Peter Segal (Nutty Professor II: The Klumps) attached to direct. The story revolves around a timid businessman (Sandler) who is sent to an anger management program by mistake and has his life turned upside down by its hyper instructor (Nicholson).
Geraldo Rivera has said he made an "honest mistake" in reporting on a friendly fire incident in Afghanistan for Fox News Channel. While witnessing the aftermath of a bombing in Tora Bora where two Afghans were killed, Rivera reportedly confused the site with another friendly fire episode that happened in Kandahar, where U.S. bombs killed three Americans. Fox News accepted Rivera's explanation of confusion, and plans no action against Rivera.
Downtown Minneapolis is going to "make it, after all." The cable channel TV Land has commissioned a $55,000 bronze statue for the city of Mary Tyler Moore's alter-ego, TV producer Mary Richards from the hugely popular '70s TV show The Mary Tyler Moore Show. The show was based in the famed city.
Stephen Bing's problems just won't quit. First, Liz Hurley claims he's the father of her unborn baby. Now he is suing London's The Mirror for printing his phone number and asking readers to call and berate him, after he came out saying he was unsure if he indeed is the father. Bing is asking for $10 million in damages, citing libel and invasion of privacy.
Germany has finally seen fit to honor one of its best known celebrities--Marlene Dietrich. Dietrich was shunned in the 1940s when she sided with the Allies during WWII. Now, in celebration of Dietrich's 100th birthday a tribute will take place in Berlin, hosted by President Johannes Rau, who will also issue a formal apology for treating Dietrich as a traitor.
A number of NBC-owned stations are looking to launch a daily reality-based TV show for women, amidst the slew of talk shows, soap operas and games shows that populate daytime television. Called Life Moments, the show will center on women and their day-to-day lives, from working to having a baby to going on a date.
British pop band Steps, known for their disco renditions and cool dance moves, has decided to split up after "an incredible five years" together, leaving their fans in a state of shock. One fan on the Steps official Web site message board says, "I've only just started crying. Before I was shaking like a leaf..."