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.
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
Director Todd Haynes' quirky, all-star Bob Dylan-inspired movie I'm Not There is set to be the toast of the IFC Independent Spirit Awards in Santa Monica, California, in February, after landing the event's first Robert Altman Award.
Announced at the Spirit Awards last year, the honor is given to the director, casting agent and cast of an outstanding indie movie.
In I'm Not There, Heath Ledger, Richard Gere and Cate Blanchett are among the actors who conjure up the spirit of Dylan at different stages of his life for the offbeat 'biopic.'
The movie was also nominated for the Spirits' Best Film prize, where it will compete with Julian Schnabel's The Diving Bell and the Butterfly, Juno, A Mighty Heart and Paranoid Park.
Blanchett and Marcus Carl Franklin earned Best Supporting Actress and Actor nods, respectively, for their portrayals of Dylan, and Todd Haynes is a Best Director nominee.
Other four-film nominees are acclaimed coming-of-age film Juno, The Diving Bell and the Butterfly and The Savages.
Meanwhile, Ang Lee's controversial Lust, Caution is also a multi-nominee; the film's stars Tony Leung and Tang Wei are up for Best Actor and Actress honors, while Rodrigo Prieto's cinematography is also under consideration.
French actress Julie Delpy's 2 Days in Paris earned her a First Feature nomination; she'll be up against Jeffrey Blitz's Rocket Science, which garnered three nominations.
In the lead-acting categories, Angelina Jolie is an immediate favorite for her role as grieving Marianne Pearl in A Mighty Heart. Jolie will compete against Sienna Miller (Interview), Parker Posey (Broken English), Ellen Page (Juno) and Tang Wei.
Leung will be up against Pedro Castaneda (August Evening), Don Cheadle (Talk to Me), Philip Seymour Hoffman (The Savages) and Frank Langella (Starting Out in the Evening) in the Best Actor category.
The nominations were announced on Tuesday morning by Lisa Kudrow and Zach Braff.
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Ostensibly the story of the man considered by many to be America's greatest songwriter I'm Not There isn't a traditional narrative tale. Six different actors embody aspects of Dylan's life mythology and imagination; each goes by a different name and each has his own road to travel. Some of them are clearly recognizable as Dylan stand-ins while others have more symbolic connections to the singer's life and career. The story's "action" (such that it is) takes place between the '50s and the '80s shifting back and forth depending on which character is in the spotlight. Some scenes portray recognizable moments in Dylan's life (going electric for instance) while others are more enigmatic. Dylan devotees may well appreciate some of the film's more obscure storytelling choices but casual fans looking for a decisive portrait of an American icon won't find it here. While many aspects of I'm Not There are wide open to interpretation the stars' performances are easier to evaluate. Three of the six--Cate Blanchett as defensive '60s artist Jude Quinn Christian Bale as protest-music legend Jack Rollins (who later becomes religious Pastor John) and Ben Whishaw as irony-fueled interviewee Arthur Rimbaud--are identifiable Dylan doppelgangers using everything from shaggy hair to vocal mannerisms to evoke him. Blanchett is the stand-out in this group; her Jude is cynical and vulnerable nihilistic and idealistic. The other three "Dylans"--Heath Ledger as rebel actor Robbie Clark Marcus Carl Franklin as wandering troubadour Woody Guthrie and Richard Gere as reclusive Billy the Kid--are more representative of the singer's career and material. Of this trio Franklin who's charmingly convincing as a world-weary traveler trapped in an 11-year-old's body pulls off the most challenging acting feat. Todd Haynes is known for inventive movies like Far From Heaven and Velvet Goldmine but none of his previous films are quite as experimental as I'm Not There. The constant shifts in style combined with the lack of a clear storyline make the film tricky to follow and sometimes nearly impossible to understand. In that sense it's like poetry--or song lyrics. And while you may not always "get" it it's hard not to be caught up in the sensibility of it all. The movie raises questions about loaded topics like meaning intent message art and feeling but I'm Not There doesn't aim to definitively answer these questions. Instead it aims to get audiences pondering such Big Ideas. Those who embrace Bob Dylan Haynes seems to suggest should be more than up to the challenge. And those who aren't can at least enjoy the soundtrack...
There was lots of slicing and dicing at the box office this weekend as The Texas Chainsaw Massacre's Leatherface took on Kill Bill's Bride, proving that samurai sword is no match for a grungy power tool.
New Line Cinema proved with its remake of Tobe Hooper's low-budget 1974 cult horror film Texas Chainsaw Massacre that there is strength in a name. The thriller, rated R for strong horror violence/gore, language and drug content, took in an insatiable $29.1 million* over the weekend, which is not surprising considering the film scored very well in its preview screenings, especially with under-25 horror aficionados.
The Texas Chainsaw Massacre's bloody take was also enough to make it the second best October opener of all time, bumping the comedy 2000 comedy Meet the Parents to third place. TCM follows the likes of October champ Red Dragon, which debuted in 2002 with $36.5 million; the 2000 comedy Meet the Parents, with $28.6 million; the 2002 comedy Jackass: The Movie, with $22.7 million; and the 2001 drama Training Day with $22.5 million.
Last week's box office champ, Quentin Tarantino's equally brutal R rated thriller Kill Bill Vol. 1, wasn't able to fend off Leatherface's onslaught. The film came in second with a tame $12.5 million.
This week's only other new wide release, the courtroom thriller Runaway Jury, debuted in third place with an expected $12.1 million, while the Jack Black comedy School of Rock rolled into fourth place with a rockin' $11.3 million. Clint Eastwood's Oscar buzz pic Mystic River, which took in an impressive $45,491 per-screen average when it debuted in 13 theaters last week, rounded out the Top Five in its first week of wide release with $10.3 million.
THE TOP TEN
New Line Cinema's R rated horror The Texas Chainsaw Massacre debuted with an ESTIMATED $29.1 million in 3,016 theaters with a tangible $9,649 per theater average-the highest of any film playing wide this week.
In the film, a free-spirited road trip across Texas runs headlong into madness for five friends when they encounter a bizarre family and a chainsaw-wielding man known as Leatherface.
Directed by Marcus Nispel, it stars Jessica Biel, Eric Balfour, Mike Vogel, Erica Leerhsen and Andrew Bryniarski.
Miramax Films' R rated Kill Bill Vol. 1, last week's box office champ, came in second in its second week with an ESTIMATED $12.5 million (-43%) in 3,102 theaters (unchanged, $4,030 per theater). It's cume is approximately $43.3
Directed by Tarantino, it stars Uma Thurman, Lucy Liu, Vivica A. Fox, Michael Madsen, Daryl Hannah and David Carradine.
Twentieth Century Fox's R rated courtroom thriller Runaway Jury opened in third place with an ESTIMATED $12.1 million in 2,815 theaters with a $4,298 per theater average.
In the film, the latest Grisham adaptation, a young widow brings a civil suit against a powerful gun manufacturing corporation she holds responsible for the death of her husband.
Directed by Gary Fleder, it stars John Cusack, Gene Hackman, Dustin Hoffman and Rachel Weisz.
Paramount Pictures' PG-13 rated comedy School of Rock, dropped two positions to No. 4 in its third week with an ESTIMATED $11.3 million (-27%) in 2,951 theaters (+22 theaters; $3,829 per theater). Its cume is approximately $55.1 million.
Directed by Richard Linklater, it stars Black, Joan Cusack and Michael White.
Warner Bros.' R rated drama Mystic River expanded in its second week to round out the Top Five with an ESTIMATED $10.3 million in 1,467 theaters (+1,454 theaters; $7,059 per theater). Its cume is approximately $13.4 million.
The film centers on three childhood friends who share a tragic event from the past and cross paths again 25 years later when one of the men's daughters is found brutally murdered.
Directed by Clint Eastwood, it stars Sean Penn, Tim Robbins, Kevin Bacon, Laurence Fishburne, Laura Linney and Marcia Gay Harden.
MGM's PG rated canine comedy Good Boy! fell three spots to come in sixth in its third week with an ESTIMATED $9 million (-31%) in 3,225 theaters (unchanged; $2,791 per theater). Its cume is approximately $25.7 million.
Directed by John Hoffman, it stars Liam Aiken and the vocal talents of Matthew Broderick, Brittany Murphy, Carl Reiner and Vanessa Redgrave as the dog Hubble and his four-legged friends.
*Box office estimates provided by Exhibitor Relations, Inc.
Universal Pictures' PG 13 rated romantic comedy Intolerable Cruelty dropped three rungs to place seventh in its second week with an ESTIMATED $6.8 million (-45%) in 2,570 theaters (+6 theaters, $2,680 per theater). Its cume is approximately $23 million.
Produced by Ethan Coen and directed by Joel Coen, it stars George Clooney and Catherine Zeta-Jones.
MGM Pictures' R rated police thriller Out of Time fell three notches to eighth place in its third week with an ESTIMATED $4.1 million (-52%) at 2,344 theaters (-732; $1,749 per theater). Its cume is approximately $35.3 million.
Directed by Carl Franklin, it stars Washington, Eva Mendes, Sanaa Lathan and Dean Cain.
Buena Vista's PG-13 rated romantic comedy Under the Tuscan Sun fell five notches to No. 9 in its fourth week with an ESTIMATED $3.4 million (-31%) in 1,663 theaters (-38 theaters; $2,044 per theater). Its cume is approximately $33.7 million.
Directed by Audrey Wells, it stars Diane Lane, Sandra Oh, Vincent Riotta and Raoul Bova.
Universal Pictures' PG-13 rated jungle actioner The Rundown fell three rungs in its fourth place week to round out the Top Ten with an ESTIMATED $2.8 million (-45%) in 2,099 theaters (-724 theaters; $1,355 per theater). Its cume is approximately $44.5 million.
Directed by Peter Berg, it stars The Rock, Seann William Scott, Rosario Dawson and Christopher Walken.
Buena Vista' PG rated biopic Veronica Guerin debuted in 472 theaters with $603,000 with a soft $1,278 per theater average.
In the film, set in the mid-1990s, journalist Veronica Guerin covers the powerful drug lords battling for control of the street of Dublin, Ireland.
Directed by Joel Schumacher, it stars Cate Blanchett, Gerard McSorely and Ciaran Hinds.
Focus Features' R rated biopic Sylvia debuted in three theaters with an ESTIMATED $52,000 with an impressive $17,333 per theater average.
The film is a biopic of American poet Sylvia Plath and her turbulent marriage to a future poet laureate of England, Ted Hughes.
Directed by Christine Jeffs, the film stars Gwyneth Paltrow and Daniel Craig.
United Artists' PG-13 teen drama Pieces of April opened in six theaters with $48,000 with a strong $8,000 per theater average.
In the film, 21-year-old April Burns invites her estranged, straight-laced family for Thanksgiving dinner for a disastrous evening.
Directed by Peter Hedges, it stars Katie Holmes, Patricia Clarkson, Oliver Platt and Derek Luke.
The Top 12 films this weekend grossed an ESTIMATED $105.2 million, up 7.5 percent from last weekend's $73.5 million. The Top 12 movies were also up 43 percent from this time last year when they took in $97.9 million.
Last year, Dreamworks' R rated thriller The Ring debuted at No. 1 with $15 million in 1,981 theaters ($7,580 per theater); Buena Vista's PG-13 rated comedy Sweet Home Alabama also stayed in second place in its fourth week with $9.5 million in 3,282 theaters ($2,913 per theater); and Universal's R rated thriller Red Dragon followed in third place in its third week with $8.7 million in 3,307 theaters ($2,650 per theater).