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 This Means War – a stylish action/rom-com hybrid from director McG – Tom Hardy (The Dark Knight Rises) and Chris Pine (Star Trek) star as CIA operatives whose close friendship is strained by the fires of romantic rivalry. Best pals FDR (Pine) and Tuck (Hardy) are equally accomplished at the spy game but their fortunes diverge dramatically in the dating realm: FDR (so nicknamed for his obvious resemblance to our 32nd president) is a smooth-talking player with an endless string of conquests while Tuck is a straight-laced introvert whose love life has stalled since his divorce. Enter Lauren (Reese Witherspoon) a pretty plucky consumer-products evaluator who piques both their interests in separate unrelated encounters. Tuck meets her via an online-dating site FDR at a video-rental store. (That Lauren is tech-savvy enough to date online but still rents movies in video stores is either a testament to her fascinating mix of contradictions or more likely an example of lazy screenwriting.)
When Tuck and FDR realize they’re pursuing the same girl it sparks their respective competitive natures and they decide to make a friendly game of it. But what begins as a good-natured rivalry swiftly devolves into romantic bloodsport with both men using the vast array of espionage tools at their disposal – from digital surveillance to poison darts – to gain an edge in the battle for Lauren’s affections. If her constitutional rights happen to be violated repeatedly in the process then so be it.
Lauren for her part remains oblivious to the clandestine machinations of her dueling suitors and happily basks in the sudden attention from two gorgeous men. Herein we find the Reese Witherspoon Dilemma: While certainly desirable Lauren is far from the irresistible Helen of Troy type that would inspire the likes of Tuck and FDR to risk their friendship their careers and potential incarceration for. At several points in This Means War I found myself wondering if there were no other peppy blondes in Los Angeles (where the film is primarily set) for these men to pursue. Then again this is a film that wishes us to believe that Tom Hardy would have trouble finding a date so perhaps plausibility is not its strong point.
When Lauren needs advice she looks to her boozy foul-mouthed best friend Trish (Chelsea Handler). Essentially an extension of Handler’s talk-show persona – an acquired taste if there ever was one – Trish’s dialogue consists almost exclusively of filthy one-liners delivered in rapid-fire succession. Handler does have some choice lines – indeed they’re practically the centerpiece of This Means War’s ad campaign – but the film derives the bulk of its humor from the outrageous lengths Tuck and FDR go to sabotage each others’ efforts a raucous game of spy-versus-spy that carries the film long after Handler’s shtick has grown stale.
Business occasionally intrudes upon matters in the guise of Heinrich (Til Schweiger) a Teutonic arms dealer bent on revenge for the death of his brother. The subplot is largely an afterthought existing primarily as a means to provide third-act fireworks – and to allow McGenius an outlet for his ADD-inspired aesthetic proclivities. The film’s action scenes are edited in such a manic quick-cut fashion that they become almost laughably incoherent. In fairness to McG he does stage a rather marvelous sequence in the middle of the film in which Tuck and FDR surreptitiously skulk about Lauren's apartment unaware of each other's presence carefully avoiding detection by Lauren who grooves absentmindedly to Montel Jordan's "This Is How We Do It." The whole scene unfolds in one continuous take – or is at least craftily constructed to appear as such – captured by one very agile steadicam operator.
Whatever his flaws as a director McG is at least smart enough to know how much a witty script and appealing leads can compensate for a film’s structural and logical deficiencies. He proved as much with Charlie’s Angels a film that enjoys a permanent spot on many a critic’s Guilty Pleasures list and does so again with This Means War. The film coasts on the chemistry of its three co-stars and only runs into trouble when the time comes to resolve its romantic competition which by the end has driven its male protagonists to engage in all manner of underhanded and duplicitous activities. This Means War being a commercial film – and likely an expensive one at that – Witherspoon's heroine is mandated to make a choice and McG all but sidesteps the whole thorny matter of Tuck and FDR’s unwavering dishonesty not to mention their craven disregard for her privacy. (They regularly eavesdrop on her activities.) For all their obvious charms the truth is that neither deserves Lauren – or anything other than a lengthy jail sentence for that matter.
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Enigmatic and deliberate Tinker Tailor Soldier Spy makes no reservations while unraveling its heady spy story for better or worse. The film based on the bestselling novel by John Le Carre is purposefully perplexing effectively mirroring the central character George Smiley's (Gary Oldman) own mind-bending investigation of the British MI6's mole problem. But the slow burn pacing clinical shooting style and air of intrigue only go so far—Tinker Tailor Soldier Spy sports an incredible cast that can't dramatically translate the movie's impenetrable narrative. Almost from the get go the movie collapses under its own weight.
After a botched mission in Hungary that saw his colleague Jim (Mark Strong) gunned down in the streets Smiley and his boss Control (John Hurt) are released from the "Circus" (codename for England's Secret Intelligence Service). But soon after Smiley is brought back on board as an impartial observer tasked to uncover the possible infiltration of the organization. The former agent already dealing with the crippling of his own marriage attempts to sift through the history and current goings on of the Circus narrowing his hunt down to four colleagues: Percy aka "Tinker" (Toby Jones) Bill aka "Tailor" (Colin Firth) Roy aka "Soldier" (Ciaran Hinds) and Toy aka "Poor Man" (David Dencik). Working with Peter (Benedict Cumberbatch) a conflicted younger member of the service and Ricki (Tom Hardy) a rogue agent who has information of his own Smiley slowly uncovers the muddled truth—occasionally breaking in to his own work place and crossing his own friends to do so.
Describing Tinker Tailor Soldier Spy as dense doesn't seem complicated enough. The first hour of the monster mystery moves at a sloth's pace trickling out information like the tedious drips of a leaky faucet. The talent on display is undeniable but the characters Smiley included are so cold that a connection can never be made. TTSS sporadically jumps around from past to present timelines without any indication: a tactic that proves especially confusing when scenes play out in reoccurring locations. It's not until halfway through that the movie decides to kick into high gear Smiley's search for a culprit finally becoming clear enough to thrill. A film that takes its time is one thing but Tinker Tailor Soldier Spy does so without any edge or hook.
What the movie lacks in coherency it makes up for in style and thespian gravitas. Director Tomas Alfredson has assembled some of the finest British performers working today and they turn the script's inaccessible spy jargon into poetry. Firth stands out as the group's suave slimeball a departure from his usual nice guy roles. Hardy assures us he's the next big thing once again as the agency's resident moppet a lover who breaks down after a romantic fling uncovers horrifying truth. Oldman is given the most difficult task of the bunch turning the reserved contemplative Smiley into a real human. He half succeeds—his observational slant in the beginning feels like an extension of the movie's bigger problems but once gets going in the second half of the film he's quite a bit of fun.
Alfredson constructs Tinker Tailor Soldier Spy like a cinematic architect each frame dripping with perfectly kitschy '70s production design and camera angles that make the spine tingle. He creates paranoia through framing similar to the Coppola's terrifying The Conversation but unlike that film TTSS doesn't have the characters or story to match. The movie strives to withhold information and succeeds—too much so. Tinker Tailor Soldier Spy wants us to solve a mystery with George Smiley but it never clues us in to exactly why we should want to.
The world-renowned movie event is due to kick off in the city on 9 September (10), but officials have found the parasitic insects in cinemas due to be used for the film screenings.
Bosses at the Cineplex movie theatre complex are taking steps to make sure the festival is "itch-free" and organisers are hopeful the outbreak will be contained.
In a post on his Twitter.com page, TIFF co-director Cameron Bailey writes, "Before bedbugs becomes today's meme: We're on it, we're talking to Cineplex and are planning for an itch-free (festival)."
A statement from Cineplex bosses adds, "We are immediately investigating the issue (and) will take necessary steps to address this. Guest safety is our (number one) concern!"
Clint Eastwood, Matt Damon and Keira Knightley are among the stars due to attend the festival.
Brad Pitt and Jennifer Aniston can relax; they are now surpassed in the couples rumor mill by the betrothed Michael Douglas and Catherine Zeta-Jones. So we're here to quash some buzzings and entertain you with others.
The latest rumor is that Zeta-Jones wants to take Douglas' name after they wed, according to the New York Daily News. Does this make her Catherine Douglas or Catherine Zeta-Douglas? We're not sure. But while we find out, we can tell you that she's not converting to Judaism, according to Douglas.
"I have had no formal religious training myself, and there has never been any debate with Catherine about it. Religion has not entered into the equation. Our child will be raised the same way I was," Douglas, 55, told London's Mirror.
He also admits that he misplaced her engagement ring before he proposed New Year's Eve. When Douglas couldn't find the sparkler in his luggage, he was "sure someone had stolen it," but Zeta-Jones, 30, remembered seeing him fumbling with a box at their hotel room in Wales over Christmas. Douglas called the hotel and asked housekeeping if they'd found a box, and lo and behold, it was there. It was shipped to Aspen, Colo., where he proposed at his resort. Kudos to the FedEx people for going above and beyond the call of duty.
A SHAGADELIC LAUGH: "Austin Powers: The Spy Who Shagged Me's" Mike Myers and "American Beauty's" Annette Bening took funniest film actor and actress honors at the American Comedy Awards on Sunday night at Los Angeles' Shrine Exposition Center. The awards will be telecast March 23 on Fox.
Funniest motion picture went to "Analyze This," a mob comedy starring Robert De Niro and Billy Crystal, topping more offbeat nominees such as "American Beauty" and "Being John Malkovich."
Steve Martin was honored with a career achievement award. Said Myers, "I like Steve Martin because he's silly and smart, smart and silly."
MAKING PEACE: Before "Red Planet" opens Nov. 10 -- pushed back from June 16 -- Tom Sizemore would like to clear the air concerning reported rifts he had with co-star Val Kilmer.
"Val and I are friends," the 36-year-old actor told USA Today. "A lot of people say nasty things about him. ... We did 'Heat,' and he was sweet to me. We're together (in 'Red Planet') from Page 6 to the end, every day, for 16 hours. And we've had a really good time. "
Earlier reports said the two considered taking out restraining orders on the set. Kilmer says, "The idea that Tom and I have taken out restraining orders ... is completely untrue. I have known Tom for many years and have the utmost respect for him as a person and actor."
MAKING PEACE, PART II: Madonna, after giving some 65 interviews promoting her upcoming film "The Next Best Thing," finished her interview with Rosie O'Donnell and decided she had more good-doing to do. So the Material Girl popped on over to "Saturday Night Live" studios, where fellow diva Jennifer Lopez was rehearsing her musical number for this week's show. The two reportedly greeted each other warmly and laughed off rumors that Madonna snubbed Lopez at Donatella Versace's New Year's Eve bash over Lopez's criticism of her acting abilities in a Movieline.
OBITS: French director Claude Autant-Lara, known for his right-wing political stances and jabs at bourgeois society, died Saturday at age 98. Autant-Lara directed more than 30 films, many of them classics of 1940s and 1950s French cinema ...
John Vincent Imbragulio, a music executive who produced the rock 'n' roll single "Sea Cruise" among others, died Friday at age 74. Imbragulio owned Ace Records, Ace Music Publishers and Avanti Records ...
Todd Karns, who played James Stewart's younger brother in died Saturday of cancer at age 79. Karns' character, Harry Bailey, made the memorable toast in the film's final scene, saying "To my big brother, George. The richest man in town!" ...
Doris Kenner-Jackson, member of the Shirelles, died Friday of breast cancer. She was 58. The Shirelles, which also included Shirley Alston Reeves, Beverly Lee and the late Addie "Micki" Harris, had many hits in the early 1960s, including "Soldier Boy" and "Will You Still Love Me Tomorrow."
QUICK TAKES: Add Clint Eastwood to the roster of presenters at this year's Academy Awards on March 26 in Los Angeles. Eastwood picked up Best Picture and Best Director awards for 1992's "Unforgiven." ...
... Phylicia Rashad (CBS' "Cosby") has made plans to renovate the Brainerd Institute, a historic black school where her mother, Vivian Ayers Allen, graduated ...
Paul Newman ran into a little car trouble at the 24 Hours of Daytona race Saturday. His Porsche blew an engine and was retired only eight hours into the race. Luckily, the 75-year-old Newman was not in the car when it blew; likely he was off hand-gliding or preparing for the running of the bulls.