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.
In any romantic comedy the ending is something of a forgone conclusion and in this case it's cheesed out to the max with soft focus lensing and cheap repetitive dialogue. With that criticism out of the way the fun of How To Lose a Guy in 10 Days is in how the story gets to its inevitable and overplayed climax--and this one's a doozy. Andie Anderson (Hudson) and Benjamin Barry (McConaughey) are two ambitious young creative types. She's a columnist for Composure magazine assigned to write an article about how to lose a guy in 10 days--and she has to do it by perpetrating every dating atrocity known to womankind on her gullible guy. He's an ad exec aspiring to leave beer and sports equipment accounts behind in favor of luxury items like diamonds--and the only way he's going to get there is to win a bet with his boss by making a girl fall in love with him before the big pitch to the client a diamond consortium in 10 days. Andie does everything she can think of to make Ben (aka Benny Wenny Benji Muffin etc.) fall out of love with her while Ben's effort to make her fall in love means he tolerates her every girlie invasion of his life from chick flick marathons to Vagisil in the bathroom to a Celine Dion concert on the night of the MBA finals. The result is an ever-escalating joke that the audience is in on from the outset and it works. Of course I'm a sucker for romantic comedy and if you can give it a quirky twist so much the better I say.
Hudson and McConaughey have marvelous chemistry in this film and you'll love watching them make out make up and generally make each other's lives a mess. McConaughey's such a convincing Casanova that it's easy to see why Andie can't resist Benjamin and even his plotting and manipulations are tinged with a Southern charm that's impossible to fake and easy to love. Hudson too plays her dual role charmingly capturing the Sex and the City coolness of her character's ambitious side while really letting it all hang out as she tries multiple maneuvers to make Ben drop her like a brick--including calling his mother leaving 17 messages on his answering machine in about 17 minutes and buying him a little doggie with a diamond collar and a penchant for peeing on the pool table.
Director Donald Petrie's How To Lose a Guy in 10 Days based on the book by Michele Alexander and Jeannie Long succeeds because it makes it easy for us to see ourselves in the roles of the leading characters. How many women have sent a potential Mr. Right running for his manly life by calling too often too soon? I can't think of any that haven't. How many men have stuck around in spite of it? Probably not as many as we'd like but certainly enough that we believe the possibility. And that's really the trick to a good romantic comedy: it has to make us believe that we all have a shot at the fairy tale--at true deep meaningful love--without seeming like a fairy tale itself. The movie has to make us believe we have this chance in spite of--even because of--the obstacles in love's path since in real life they are myriad and often overwhelming. But it's not just the women who can live the fairy tale in this film--men will appreciate the fact that the real Andie Anderson is a rowdy Knicks fan a ravenous eater of bacon cheeseburgers and a fantastic card player. And what guy wouldn't want to identify with McConaughey (who incidentally takes his shirt off to great effect at least twice in the movie)?