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.
PASADENA Calif., July 20, 2000 - Substance reigned over style as NBC unveiled its new Fall lineup to the media this week. Gone were the matching color schemes and meals by the pool that ABC employed to fete reporters just a few days ago; in their stead, there were neon peacocks and buffet trays with sternos. And the consensus among critics at the Ritz-Carlton Hotel was that ABC surely hung window dressing on everything because it only had four new series to pump. NBC, on the other hand, needed no frills to roll out seven new series and two miniseries.
Not surprisingly, the Q-and-A sessions were shorter, with less time for breathing in between. Trashy dramatist Aaron Spelling unveiled his high-camp "Titans," a Dallas-for-the-millennium evening soap with vixens, sex and greed, and starring Yasmine Bleeth, Casper Van Dien ("Sleepy Hollow") and Victoria Principal. Critics broke into applause during a preview, when Bleeth tells Van Dien she is pregnant with his baby - even while walking down the aisle to marry his father.
Katey Sagal showed has ditched her Peg Bundy wig to play a neighborhood witch with heart in the coming-of-age sitcom, "Tucker." Oliver Platt ("Bulworth") and indie film queen Lili Taylor spoke about their New York newspaper drama "Deadline." And writers and producers hailing from "The Late Show with David Letterman" brought out the romantic comedy "Ed," starring Tom Cavanaugh ("Providence"), about a New York lawyer who gets fired, catches his wife cheating and moves back to his hometown to buy a bowling alley.
Then there was Michael Richards ("Seinfeld"), promoting his sitcom "The Michael Richards Show," an Inspector Clouseau meets Ernie Kovacs P.I. romp. Steven Weber ("Wings") was on hand to tout "Cursed," co-starring Chris Elliot ("There's Something About Mary'), about a guy who, uh, gets cursed. And, David Alan Grier ("In Living Color") joked about starring in the sitcom "DAG" about a demoted secret service agent who guards the demanding First Lady, the slimmed-down Delta Burke, saying "You will always hear these lines: 'It's because I'm black.'"
Then there were the two miniseries, the biblical drama "In the Beginning" starring Jacqueline Bisset and Martin Landau, and the Kennedy wives' drama "Jackie, Ethel, Joan: Women of Camelot," which features Jill Hennessey ("Law & Order"), Lauren Holly ("Dumb and Dumber") and Leslie Stefanson ("The General's Daughter"), respectively.
NBC's marathon unveiling ended with a celeb-fest at Jillian's Hi-Life Lanes, a bowling alley at the tourist-beseiged Universal City Walk shopping mall. While the food was, again, unspectacular, everyone was handed disposable cameras to take pictures of things like Rob Lowe and Kathy Ireland talking (two perfect creatures that seem freakish standing together), Martin Sheen mugging with "Daddio" tyke Mitch Holleman, and "Will & Grace" actor Eric McCormack discussing how the characters will soon have significant others. In short, the stars pranced, the critics howled.