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.
All the glamorous Catherine Zeta-Jones has to do is tap her heels three times and, just like that, she's returning to her humble homeland of Wales to do the independent film Coming Out. Under the direction of another Welshwoman, Sara Sugarman, Zeta-Jones will produce and star in the film about a Welsh rugby team whose coach unexpectedly dies. Their only hope is to rely on the deceased coach's gay son to "choreograph them to victory." But don't think Zeta-Jones is bowing out of the limelight forever. Oh, no, she wants that Oscar. So, Zeta-Jones also will star with her equally famous husband Michael Douglas in Smoke and Mirrors. The period drama follows the efforts of a French 19th century illusionist, along with his female sidekick, to expose a sorcerer who is inciting anti-colonial revolution. Production will start mid-fall.
Roberts' Atlantic crossing
Julia Roberts, following the leads of Renee Zellweger (Bridget Jones's Diary) and Gwyneth Paltrow (Sliding Doors), will most likely have to take some serious dialect lessons to perfect a British accent for a new untitled film (the one she had in Mary Reilly doesn't count). She will take on the real-life role of a Yorkshire woman whose murder led police on one of their biggest manhunts, followed by one of the most controversial miscarriages of justice in the United Kingdom. Roberts will play Wendy Sewell, whose gravitation towards elicit sex gained her the nickname "The Bakewell Tart," London's The Observer reports. Sewell was murdered in 1973. Maintaining his innocence, 17-year-old Tim Downing was convicted of killing Sewell. Local newspaper editor Don Hale spent six years trying to clear the young man's name. Interesting. Let's see what the Oscar-winning actress dishes up.
Hallstrom and DiCaprio play "Catch"
Speaking of more true stories, director Lasse Hallstrom (Chocolat) is in final negotiations to direct DreamWorks' Catch Me If You Can, with Leonardo DiCaprio, who certainly has taken the heat off himself in the last few years, attached to star. This is based on the life of Frank Abagnale Jr., the only teen to ever make the FBI's 10 most wanted list for impersonating several hundred different people and writing bad checks between 1964 and 1966. Abagnale Jr. passed himself off as a Pan Am copilot, a chief resident pediatrician and an assistant attorney general. He had written $6 million in bad checks in all 50 states and 26 foreign countries by the time he was caught. That's one busy bee. And with Hallstrom and DiCaprio together again, after their other quirky but compelling film What's Eating Gilbert Grape (DiCaprio was nominated for an Oscar), Catch might one to watch out for.
Allen looking at the stars … again
Hey, why mess with a good thing? Tim Allen is no dummy. After his success in 1999's comedy hit Galaxy Quest, Allen is in talks to star in Paramount Pictures' comedy StarChild, about another romp with aliens--Roswell aliens, to be exact. A socially challenged CIA agent is assigned the task of getting a young Roswell alien back home before interplanetary war erupts on Earth. Peter Segal (Nutty Professor II: The Klumps) will direct. Think about this one carefully, Tim.
"I know nuuuth-ting!"
But we do. Looks like the brainy fellows at Revolution Studios have decided to bring the wacky and popular '60s and '70s TV sitcom Hogan Heroes to the big screen. We'll get to see all the shenanigans of Hogan (maybe Tim Allen should think about this one instead) and his oddball band of World War II POWs, as they run an underground Allied base of operations at the camp while pulling a fast one on the incompetent Col. Klink and his sidekick, Sgt. Schultz (Chris Farley would have been great). And why not? The studios haven't completely tapped out the arsenal of old TV shows as possible movie material. Ironically, the original series' star, Bob Crane, is having his own life brought to the big screen by director Paul Schrader. The film, Auto-Focus, highlights the sordid details of Crane's life after Heroes that ultimately led to his brutal murder in 1978.
Court TV makes movies
Court TV, which owes its popularity to the sensational trials of O.J. Simpson and the Menendez brothers, has decided on its first original movie. It is a project on the aftermath of the 1963 bombing of a church in Birmingham, Alabama, during which four black girls were killed. The case made headlines recently when an Alabama jury convicted Thomas Blanton of the crime. Blanton is the second man brought to justice in this case after the 1977 conviction of Robert Chambliss. Tentatively titled A Bombing in Birmingham, production will start in the late summer for a 2002 airing. Not sure, though, if anyone can outdo Spike Lee's extraordinary Oscar-nominated documentary on the same subject, 4 Little Girls. That's a hard act to follow.
The power of three
Indie gal-pals Kyra Sedgwick, Parker Posey and Fairuza Balk will star in Enter Fleeing for writer/director Rebecca Miller. Based on Miller's collection of short stories, Personal Velocity, the film tells the tale of three women-Greta (Posey), Delia (Sedgwick) and Paula (Balk)-who each struggle to flee from the men who confine their personal freedom. Sounds like the ultimate chick flick--an empowering chick flick, the best kind. Shooting begins this week in New York.
Rap Queen large and in charge
Rap singer/actress/talk show host Queen Latifah is in negotiations to star and executive produce the comedy In the Houze for Disney and Hyde Park Entertainment. A man takes to the Internet to find a date but ends up embarking on an online relationship with a convict (Latifah) who makes up several stories about herself. When she's finally released, she seeks out the guy and wreaks havoc on his upper-middle-class life. This will mark the versatile Latifah's first starring role in a film, having played mostly supporting characters in films like The Bone Collector and Living Out Loud.