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'S IT ABOUT?
Jennifer Check and Anita "Needy" Lesnicky are lifelong best friends and high school students in tiny Devil's Kettle Minnesota. Needy is the practical bookish counterpart to small-town sexpot cheerleader Jennifer who controls most everyone around her — Needy included — with knowing relish using her hypnotic good looks. After Jennifer and Needy escape a grisly fire at the local dive bar Jennifer is whisked away in a creeper van by the band that was playing there despite Needy's pleas not to. In a "sell your soul for rock and roll"-style move the fame-hungry indie rockers Low Shoulder kill Jennifer in an occult virgin sacrifice ceremony which goes awry because Jennifer isn't one. After being left for dead Jennifer shows up at Needy's house covered in blood spewing black bile and grinning wickedly.
The next day amidst the fire tragedy aftermath Devil's Kettle's star football player is found disemboweled and half-eaten in the woods adjacent to the school. Jennifer of course did it and after the vixen kills a sweet emo boy she confesses to Needy (after a too-brief girl-on-girl makeout session complete with heavy tongue close-ups) that the botched sacrifice turned her into a demon and that she becomes happier and more beautiful — and thus deadlier — after she feasts on the blood of horny high school boys. Needy does some research in the occult section of the high school library and discovers her best friend is indeed a pawn of the devil. Needy warns her boyfriend Chip to watch out for Jennifer and consequently finds herself covered in bile with Chip dead in her arms at the prom because he doesn't. Then she seeks revenge.
WHO'S IN IT?
The ever enjoyable Amanda Seyfried takes the lead as plain jane Needy and Johnny Simmons is her sweet doting boyfriend Chip. Adam Brody doing a spot-on Brandon Flowers impression is the killer front man of Low Shoulder. Amy Sedaris makes a too-brief cameo as Needy's mom and Juno's dad J.K. Simmons is a high school teacher with an unexplained hook for a hand. Megan Fox is in it too.
Diablo Cody's script is smart funny and infinitely more interesting than the typical teen slasher swill. The movie revels in its gory moments without being gratuitous and employs a healthy amount of sex without coming off like it's pandering to horny teens. Rather Jennifer's Body is the perfect template for the incomparably hot Megan Fox to use her looks as a plot-forwarding mechanism. This is a professionally signficant departure from her eye candy turns in the Transformers movies and lets Fox prove that she can actually act. There's no one else in Hollywood right now better suited to this role. Fox's performance is unhinged and charming and she makes good use of all the Diablo Cody-isms ("You need a mani bad. You should find a Chinese chick to buff your situation.") that devil-may-care Jennifer gets to utter. The love/hate best friend relationship is interesting and there's a load of good-girl-gone-wrong catharsis in Seyfried's revenge-fueled rampage. Cody and director Karyn Kusama are adept in skillfully if a bit condescendingly creating a convincing depiction of a small Midwestern town which serves as the perfect ultra-real backdrop for the story.
Cody's unique style adds the perfect quirk factor to what could otherwise be run-of-the-mill cinematic garbage.The Cody-isms however sometimes come off as cloying when they aren't being uttered by Fox. Also hopeful Fox worshippers might be disappointed that the sexually radiant actress despite her character's penchant for using sex to lure her victims doesn't actually bare anything that necessitates the film's R-rating.
With its surprising plot twists a snarky bff vs. bff subplot and Cody's flair for linguistics Jennifer's Body is a smart horror flick for anyone who enjoys jolly gore or Megan Fox in a mini-skirt.
"In this alarming cinematic event alone you will encounter a terrible fire dim lighting high tragedy a giant snake low comedy man-eating leeches and Jim Carrey " Mr. Snicket claims--and he isn't joking. It is indeed unfortunate times for the Baudelaire children who are left orphaned by a tragic fire that burned down their luxurious mansion and killed their parents. Violet (Emily Browning) one of the finest 14-year-old inventors the world has ever known her 12-year-old brother Klaus (Liam Aiken) a voracious reader and their baby sister Sunny (Kara and Shelby Hoffman) an excellent biter are now at the mercy of unknown guardians with vague connections to their parents. They include Aunt Josephine (Meryl Streep) a widow terrified of almost everything but who insists on proper grammar; Uncle Monty (Billy Connolly) a kind and warm herpetologist who holds a well-kept secret on the Baudelaire parents' past; and the most malevolent of them all Count Olaf (Jim Carrey) a wannabe actor who sets about a series of ill-fated events for the Baudelaire orphans in hopes of obtaining their vast inheritance. It's almost too much to bear--but these orphans rely on their keen intelligence and unique talents to escape Olaf's clutches.
The distressingly talented if somewhat over-the-top Jim Carrey is tailored made for the ostentatious Count Olaf much like he was for the Grinch in Dr. Seuss' How the Grinch Stole Christmas--but this time he does it with a lot less green makeup. With a smelly disposition and one giant eyebrow Carrey sufficiently oozes the right amount of villainy as Olaf without getting too "Carreyed" away. Streep also has a marvelous time playing the skittish Aunt Josephine who is so concerned about any fateful event that may befall her inside her house she doesn't seem to realize she lives in a precarious perch above a roiling sea full of killer leeches. Connolly too takes great pleasure wrapping snakes around his neck as Uncle Monty the good-hearted reptile lover. Even Jude Law makes an appearance thankfully only in silhouette as the narrator himself Lemony Snicket. Yet even against veterans such as Carrey and Streep the stoic Baudelaire orphans make the film. They're played brilliantly by Browning (Darkness Falls) Aiken (Good Boy!) and the cute-as-a-button Hoffman twins. Unlike the inexperience of say the young Harry Potter cast when they first started out Browning and Aiken are pros bringing a rather bright and inquisitive yet suitably morose quality to their characters.
"I begged them not to do it. I begged them not to get a good director. I begged them not to cast anyone talented. I begged them not base the movie on any of my books and they chose three of them!" exclaims Mr. Snicket. Good thing the filmmakers didn't listen to Mr. Snicket aka author Daniel Handler because the story of the Baudelaire orphans and their misadventures is too sweet to pass up. It follows along the traditions of other children's literature--from the Brothers Grimm to Roald Dahl to J.K. Rowling--of absurdly awful things happening to perfectly nice children. Taking from the first three books in the series--A Bad Beginning The Reptile Room and The Wide Window--director Brad Silberling (Casper) expertly creates the Snicket world staying true to the visions and unusual style of Handler's bestsellers. Shot entirely on Hollywood sound stages the film is virtual eye candy dripping with austere sets--particularly Count Olaf's dilapidated mansion and Aunt Josephine's rickety house--that are reminiscent of Barry Sonnenfeld's creepy Addams Family and Tim Burton's bleak Sleepy Hollow (whose production designer Rick Heinrichs designed Snicket). Can't wait to see what they do in the next Snicket installment.