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.
Last week, it was revealed that the upcoming Men in Black 3 would shake up tradition and not feature a rap from Mr. Fresh Prince aka star Will Smith—but it wouldn't quite do away with the musical keystone either. Taking on the alien-infused hip-hop duties from Smith was it-performer Pitbull, who, like his rapper/actor predecessor, delivers equal doses charisma and melody into his pop chart hits. But the question reamined: could a newcomer really maintain the danceability and silliness that made the original 1999 hit "Men in Black" a huge hit?
Now, Sony has released the singer's Men in Black single "Back in Time," which gives Smith's late '90s tie-in masterpiece a run for its money (and washes away any bad tastes left over from Men in Black 2's "Black Suits Comin'"). The song, written by Pitbull (aka Armando C. Perez), Marc Kinchen, Adrian Trejo and Urales Vargas, features a sample of the 1950s R&B hit "Love is Strange" by Mickey & Sylvia and plenty of plot-informed references (in the movie Smith's J travels back-in-time to save the life of his partner K).
Listen to the single in the player below, and begin speculation on whether or not Huey Lewis and the News should sue Pitbull for stealing the title of their Back to the Future tie-in song of the same!
What say you? Find Matt Patches directly on Twitter @misterpatches and remember to follow @Hollywood_com!
November 15, 2001 1:15pm EST
Levelheaded Sean (Dr. Dre) and free-spirited Dee Loc (Snoop Dogg) are roommates. After getting fired from Footlocker and waking up to find his car booted Sean decides to take Dee Loc's suggestion and apply for a job at his workplace a full-service hand car wash. When the owner Mr. Washington (George Wallace) hires Sean to manage The Wash tensions flare between the two roommates. Dee Loc thinks Sean is on a power trip while Sean must deal with Dee Loc's side hustles in the car wash parking lot. But petty bickering turns out to be the least of their worries when local gang-banger Slim (DJ Pooh) kidnaps Mr. Washington for a $50 000 ransom. The plot thickens when disgruntled ex-employee Chris (Eminem) comes back to The Wash looking for revenge.
Dr. Dre portrays his character Sean fittingly well. In fact Sean's character is probably the only empathetic one; he's not as power hungry as he is depicted and comes across as someone who is trying to deal with a crappy situation as best he can. Snoop Dogg is also perfectly cast as Dee Loc a pot-dealing car washer who's always looking for something for nothing. Though both men have been typecast based on their personalities it works to the movie's advantage here: the two have great chemistry on screen. Wallace is hilarious as Mr. Washington as is DJ Pooh the not-too-bright kidnapper. There are a couple of great cameo appearances including Tommy Chong (of Cheech and Chong fame) as a weed supplier and Pauly Shore as some guy tied up in the trunk of a car. Also look for appearance by hip-hoppers Ludacris Kurupt and Snoop Dogg's Eastsidaz partners Tray Dee and Goldie Loc. But don't expect too much screen time from Eminem; he appears for maybe all of four minutes.
Writer/director DJ Pooh (Friday) came up with the concept for this homage to the 1976 comedy Car Wash during last year's Up In Smoke rap and hip-hop tour featuring both Dr. Dre and Snoop Dogg. (Perhaps The Wash is what happens when you write a script through a haze of bong smoke!) The film has some really funny moments like when Slim calls to give the ransom demands but forgets to block his name from appearing on the caller ID. But the overall pacing is off and the focus is a little um fuzzy. Only after Mr. Washington gets kidnapped (about half way through the film) does some sort of story start to develop. Up to that point the movie lacks momentum and a sense of focus. And with a background radio conspicuously announcing new songs by Dr. Dre and Snoop Dogg it feels a bit like a marketing vehicle for their music. Though The Wash doesn't compare to Friday it still generates some good laughs and showcases considerable talent.