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 bubbly blonde was born into the famous family in 1981 and has turned heads since she was old enough to walk the red carpet.
Model, actress, singer, author, fashion designer and entrepreneur, Hilton has tried more things in her 30 years than most people could cram into a lifetime.
To help Paris and her fans celebrate her big day, WENN has compiled 10 fascinating facts about the star:
- She attended the same New York convent school as Lady Gaga.
- Hilton's had a colourful love life - she has previously been engaged to model Jason Shaw and Greek shipping heir Paris Latsis and dated singer Nick Carter, Good Charlotte guitarist Benji Madden and The Hills star Doug Reinhardt. She's currently in a relationship with nightclub owner Cy Waits, who bought her a yellow Lexus as a 30th birthday gift.
- The star was honoured in 2009 for her love of animals - she was awarded a Certificate of Excellence for Outstanding Contribution to Animal Welfare after she gave a generous donation to the Humane Society. Hilton owns several pets, including many Chihuahuas.
- She turned down the chance to take to the stage in a production of Chicago on London's West End - because the play's gruelling rehearsals didn't fit in with her busy globetrotting schedule.
- Hilton served 23 days of a 45-day jail sentence in June 2007 for violating probation on a 2006 drink-driving charge.
- The blonde beauty has appeared in several films - her role in House of Wax won her the 2005 Razzie for Worst Supporting Actress at the 2005 Golden Raspberry Awards.
- Her debut single, Stars Are Blind, topped the U.S. Hot Dance Club Songs chart in 2006. It also reached number one in Hungary and Slovakia.
- She showed off her comedy skills in 2008 by filming a 'Paris For President' spoof campaign ad for Will Ferrell's FunnyorDie.com website.
- In 2007 Hilton posed covered only in gold paint to promote Rich Prosecco, a canned version of an Italian sparkling wine.
- Paris will appear on The Late Show with David Letterman on her birthday.
Besides the elbow-rubbing and power mongering, let's not forget that the Sundance Film Festival is also about the films.
With that in mind, the annual indie film fest announced today its partial list of films for the 2001 powwow.
The lineup for three categories -- dramas, documentaries and the American Spectrum -- have thus far been announced, and other areas such as premiere, international films and short films will be announced Wednesday.
Films at the festival only compete in the dramatic and documentary categories. Top films coming out of Sundance in previous years include Ed Burns' "The Brothers McMullen" and last year's "Girlfight" from director Karyn Kusama.
The Sundance Film Festival takes place Jan. 18-28 in Park City, Utah.
In the meantime, here's the complete list of Sundance films in competition and in the American Spectrum.
"30 Years to Life," directed by Vanessa Middleton "American Astronaut," directed by Cory McAbee "The Believer," directed by Henry Bean "The Business of Strangers," directed by Patrick Stettner "The Deep End," directed by Scott McGehee & David Siegel "Donnie Darko," directed by Richard Kelly "Green Dragon," directed by Timothy Linh Bui "Hedwig and the Angry Inch," directed by John Cameron Mitchell "In the Bedroom," directed by Todd Field "L.I.E.," directed by Michael Cuesta "Lift," directed by DeMane Davis & Khari Streeter "MacArthur Park," directed by Billy Wirth "Memento," directed by Christopher Nolan "Scotland, PA," directed by Billy Morrissette "The Sleepy Time Gal," directed by Christopher Munch "Some Body," directed by Henry Barrial
"Chain Camera," directed by Kirby Dick "Children Underground," directed by Edet Belzberg "Dogtown and the Z-Boys," directed by Stacy Peralta "The Endurance: Shackleton's Legendary Antarctic," directed by George Butler "Go Tigers!" directed by Kenneth A. Carlson "Home Movie," directed by Chris Smith "Lalee's Kin: The Legacy of Cotton," directed by Susan Froemke, Deborah Dickson with "Albert Maysles Marcus Garvey: Look for Me in the Whirlwind," directed by Stanley Nelson "The Natural History of the Chicken," directed by Mark Lewis "Ralph Bunche: An American Odyssey," directed by William Greaves "Scout's Honor," directed by Tom Shepard "Scratch," directed by Doug Pray "Southern Comfort," directed by Kate Davis "Startup.com," directed by Chris Hegedus & Jehane Noujaim "Trembling Before G-D," directed by Sandi Simcha Dubowski "An Unfinished Symphony," directed by Bestor Cram & Mike Majoro
"Acts of Worship," directed by Rosemary Rodriguez "After Image," directed by Robert Manganelli "Dancing in September," directed by Reggie Rock Bythewood "Diary of a City Priest," directed by Eugene Martin "The Doe Boy," directed by Randy Redroad "Haiku Tunnel," directed by Jacob Kornbluth & Josh Kornbluth "Invisible Revolution," directed by Beverly Peterson "Jump Tomorrow," directed by Joel Hopkins "Manic," directed by Jordan Melamed "Margarita Happy Hour," directed by Ilya Chaiken "Miss Wonton," directed by Meng Ong "Raw Deal: A Question of Consent," directed by Billy Corben "Roof to Roof," directed by Ara Corbett "Women in Film," directed by Bruce Wagner "Tape," directed by Richard Linklater "Wet Hot American Summer," directed by David Wain.
Comte Donatien Alphonse François de Sade (Geoffrey Rush) the legendary
French libertine and writer of dirty stories who lent his name to the term
"sadism " goofs away the last decadent years of his life in an insane
asylum. But the black-market publication of his latest porno masterpiece
upsets the unorthodox arrangements he has with a mischievous chambermaid
(Kate Winslet) and the open-minded priest who administers the facility
(Joaquin Phoenix). Soon a harsh new supervisor (Michael Caine) arrives with
orders to break the unrepentant Marquis.
While he bears little physical resemblance to the historical de Sade -- a
350-pound 64-year-old at the time of his death in 1814 -- Rush ("Shine")
nails the combustible mixture of monster and intellectual rebel that makes
the character such a fascinating counterculture icon. Meanwhile "Titanic"
leading lady Winslet has almost too much sultry star presence for what is
little more than an overglorified henchwoman part. The talented Phoenix
("Gladiator") has much more to work with as a young priest caught in an
increasingly painful moral dilemma.
Philip Kaufman who previously indulged in raunchy literary biography with
1990's "Henry and June " digs into substantial issues about free speech and
the incendiary power of ideas in a piece that plays like "Amadeus" meets
"The People vs. Larry Flynt." Kaufman and screenwriter Doug Wright (adapting
his own stage play) mean to wash all this down with as much lurid teen sex
necrophilia and S&M as they can cram into an art film but there's something
a little too earnestly deliberate about their attempts to be crude and
salacious. Their Marquis is an entertaining enough fellow but he starts to
wear out his welcome as this highbrow tour of hell plods through its
somewhat tedious second hour.