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.
I'm not sure if Fringe's writing staff knew what they were getting themselves into when they purged Peter Bishop from history at the end of season three. Eliminating all memories of Peter from the people who loved him most, Walter and Olivia, drastically changed the reality that Fringe had built throughout three seasons. Olivia was now cold and distant, while Water -- who had no longer raised a son -- was banana-pants crazy. All of the cases and the crazy ups and downs we had witnessed either never happened, or were drastically altered. Characters who had died -- like Alt-Broyles, and most recently William Bell -- were sprung back to life. It wasn't the Fringe we knew and loved, and the show suffered as it tried its best to rectify its mistake.
Towards the very end of the season, the restoration of Olivia's memory and the brand new, out-of-nowhere promise of a looming very big big bad -- The Observers -- put things right back on track, even if Walter couldn't remember every shared licorice he had had with his son. The relationships became remarkably similar to the ones of old, so we cared when we learned that Olivia was missing from the future that we saw in "Letters of Transit." We cared when September said that in every possible future, Olivia had to die. Most of all, we cared that Fringe had finally found a new and exciting direction after its unfortunate lull.
But this new direction was clearly meant for a not-yet-ordered season five, so wrapping things up with last night's very emotional finale would have been a damn shame for a show that still has so much promise. The collapsing universes plotline had its moments, but many of its episodes felt hollow, as if Fringe was treading water as they waited for something bigger. And something bigger this way comes! DO NOT CONTINUE IF YOU HAVE NOT YET SEEN THE FINALE. MAJOR SPOILERS AHEAD.
Basically, it went like this: William Bell took Walter on his own technologically advanced version of Noah's Ark, where he had gathered two of every species to bring to his scientifically created, utopian brave new world. But Bell wasn't interested in playing Noah -- he was playing God. Since he and Walter were the only humans on board, our race would die out in a matter of years. Quoth Cabin in the Woods: "F**k humanity, man." Bell was using the energy from the activated Cortexiphan in Olivia's brain to create a vortex that would collapse both universes, and Walter would be forced to spend the rest of his days with a super-negative crazy person.
Of course, Bell's world was never meant to be. Olivia and Peter found their way to the ship, where Walter went ahead and SHOT OLIVIA IN THE HEAD to stop the Cortexiphan from destroying human existence. Correct me if I'm wrong, but I don't think I'm the only one who was right there crying with Peter at this point. Like, can't these people ever be happy? Thankfully, Walter was acting on a well-educated hunch -- Olivia's Cortexiphan consciousness would not only heal both worlds, but her wound as well. All of our heroes would live to see another season. Hooray!
What made the ending of this finale so effective was its sheer emotionality. Last season's finale shocked our senses and broke our hearts, but this year we were briefly able to believe that everything could end up okay. The danger that had plagued both universes was finally removed. Leonard Nimoy went back into semi-retirement, Jared Harris returned to Sterling Cooper Draper Price, Astrid was alive, Broyles was promoted, and the Fringe division would finally get the funding it deserved. Peter and Olivia were happy too, finally having each other and a decent house to buy in the suburbs. And to add to their joy, Olivia was pregnant! Now, this would be happy news to most everyone else, but, unbeknownst to the happy couple, the fact that this baby fits neatly into the hellish future timeline presented in "Letters of Transit" is a serious cause for alarm. So was September's last-minute warning to Walter: “We have to warn the others. They are coming." That's right, viewers: According to my non-Cortexiphan addled brain, a vastly improve season five of Fringe is coming.
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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.
Crystal Lake. Dumb kids in the woods. Sex drugs booze. A hulking maniac in a hockey mask wielding a machete. Yeah that about sums it up.
Are you kidding? The new Jason Derek Mears probably fares best among the actors because he doesn’t have a single word of dialogue. Everyone else unfortunate enough to stumble in front of the camera – Jared Padalecki Amanda Righetti Danielle Panabaker Travis Van Winkle – is basically fodder for the slaughter. Some of them get naked. Most of them get dead. Some die more gorily than others. No one dies quickly enough. Having previously (and woefully) directed the 2003 remake of The Texas Chainsaw Massacre helmer Marcus Nispel does his best – and worst – to resurrect yet another popular horror franchise from the past. He also adds absolutely nothing new to the formula. Quite frankly anyone could’ve directed this film. Judging by the results anyone did. This is the 12th Friday the 13th film for those keeping score at home and with any luck it’ll be the last. Of course it won’t be. But we can always hope.
It can’t just ALL be about a boy wizard named Harry Potter. There have to be other fantasy-driven stories grounded in reality that are just as exciting. And so there is: The Spiderwick Chronicles a series of short books by Tony DiTerlizzi and Holly Black which tells us about the magical creatures who live around us but who remain invisible so we humans won’t freak out. Probably a wise choice for most but there are a few who want to see the creatures. One such person is Arthur Spiderwick (David Strathairn) a turn-of-the-century naturalist who has witnessed the likes of sprites goblins hobgoblins ogres and trolls at work. He has documented their secrets and habits in his Field Guide--a book that if placed in the wrong hands could make some fantastical beast maliciously omnipotent. Jump ahead some 80 years when we meet Spiderwick’s descendents the Grace family who have moved into his dilapidated house in the woods. Newly divorced mom Helen (Mary-Louise Parker) has uprooted her kids--teenage Mallory (Sarah Bolger) and twins Jared and Simon (both Freddie Highmore)--to start a new life with Jared being the one protesting the loudest. That is until he finds Spiderwick’s field guide and quite literally opens Pandora’s box giving evil ogre Mulgarath (Nick Nolte) who has desperately wanted the book since its inception the window of opportunity he’s been waiting for. The Grace kids have to band together--with a few otherworldly allies of course--to protect the book at all costs. Although Highmore (Charlie and the Chocolate Factory) struggles at times with the American accent the young British lad continues to prove his worthiness in the acting department--and joins the ranks of playing twins onscreen that dates back to Patty Duke on The Patty Duke Show (yes they were just cousins but they were identical cousins). Highmore does a nice job distinguishing between the two boys but he seems to have the most fun playing Jared. And rightly so since Jared is the true hero of the story. He is deeply wounded by his parents’ divorce blaming his mother for it all but in discovering this magical and dangerous world that goes way beyond his personal problems he quickly snaps to it. Bolger (In America) too takes her clichéd older-sister-who-knows-everything role and freshens it up adding a fierce determination to protect her family--with an expressive face that makes her very watchable. The adult cast isn’t nearly as important but they all fit in nicely especially Joan Plowright as Great Aunt Lucinda Spiderwick’s 80-something daughter who saw her father taken away by sylphs the keepers of the faeries’ secrets when she was 6 and has been trying to explain it ever since. Then there are the voices of some of the creatures the Graces meet including Martin Short as the ever-faithful house brownie Thimbletack; Seth Rogen as the hobgoblin Hogsqueal a piggish and friendly fellow whose spit in the eye gives you the Sight; and Nolte as the horrible villainous Mulgarath. OK all those who believe in faeries raise your hand! The Spiderwick Chronicles is just the kind of story that gets an imaginative kid to run out to the garden to start looking for sprites and director Mark Waters inherently understands this. Better known for his comedies such as Mean Girls and Freaky Friday Waters nonetheless grabs hold of the Spiderwick’s mythology and firmly plants it in reality with normal modern kids encountering a whole magical realm. Taking from the illustrations of co-author Tony DiTerlizzi Waters also gives us new versions of magical creatures we’ve read about for ages. Goblins for example look like giant frogs and act like attack dogs in this film as opposed to the more civilized view of them in the Harry Potter books--and goblins in Spiderwick can be killed by tomato sauce which melts them. Nice touch. Trolls too aren’t great big lumbering fellows but more dinosaur-like in Spiderwick. And let’s just say ogre Mulgarath looks nothing like Shrek but more so a devilish creature with yellow eyes and great big horns. Spiderwick is indeed scary at times maybe too scary for the younger kids but the action sequences and chase scenes are thrilling enough to keep everyone else’s attention.