Columbia Pictures via Everett Collection
As grand as the themes of good and evil, needs and deservings, power and responsibility and such forth are, superhero movies are generally pretty straightforward in premise: hero stops villain from wreaking havoc. As off-putting as this kind of simplicity might sound, it's usually the right way to go. If you pack enough substance into your characters and adhere your plot to these linear margins, you can actually wind up saying a healthy amount (and having a lot of fun). The Amazing Spider-Man 2 gets half of this formula down pat. Although Andrew Garfield's Peter Parker is still a moreover undistinguished identity, his emotional magnitude (re: his relationship with Gwen Stacy) is enough to keep him valid through the storm of lunacy that is his second feature. And it's not even that lunacy that holds him back. The problem isn't how wild his conquests are, how silly some of the action sequences feel, or how absolutely bonkers his villains turn out to be. It's all the other stuff (and yes, if you can believe it, there's a ton more going on in this movie than what I've already mentioned — that's the issue). All the plot twists, tertiary mysteries, ominous flashbacks, abject reveals, and weightlessly sinister pawns in this brooding game that, save for its fun with the baddies, takes itself way too seriously. All that stuff that The Amazing Spider-Man 2 thinks is necessary to make Peter Parker matter? It actually does just the opposite.
Peter is at his best when he's playing Tracy and Hepburn with the girlfriend he's perpetually disappointing (the eternally charming Emma Stone), or trying to win back the favor of the only remaining parental figure from whom he's rapidly slipping away (Sally Field, reminding us why she's a household name), or angling to connect with the mentally unstable engineer who just wants people to notice him (Jamie Foxx working his comic shtick with a frightening zest). We have the most fun with Peter when he's playing the simplest games, and we connect best with him on similar ground. But Peter and company, at the behest of The Amazing Spider-Man franchise's Sandman-sized aspirations, spend so much time exploring new avenues: the secrets surrounding the death and work of Richard Parker, the behind-the-curtains operations of OsCorp, the nefarious goings on in the waterside penitentiary Ravencroft.
Columbia Pictures via Everett Collection
As a result of the grand stab at world building, there is just so much stuff that Peter has to wade through in this movie, dragging the likes of Gwen and his boyhood friend Harry Osborn (Dane DeHaan, mastering angst, menace, and upper-class privilege all at once) into the dark crevasses of narrative waste. With so many diversions into the emotionally vacant, deliberately joyless explorations of Parker family origin stories, secret brief cases, and underground subways — The Amazing Spider-Man 2 rivals Captain America: The Winter Soldier in complexity, but forgets the necessary ingredient of fun — we barely have enough energy left when the good stuff hits.
And in truth, the good stuff isn't really good enough to sustain us through all the duller periods. Garfield and Stone do have laudable chemistry. Foxx is a hoot as Peter's maniacal new foe, especially when paired with the grimacing DeHaan. And the action, while often straying from any aesthetic authenticity, is nothing shy of neat-o. It's all passable, occasionally worthy of a hearty smile, but rarely anything you'll be definitively pleased you took the time to see.
But beyond coming up short in the micro, the film's regal downfall is its scope. With so much to do, both in accomplishing its own necessary plot points and setting up for those to come in future films, The Amazing Spider-Man 2 doesn't seem to take time to make sure it's having fun with its own premise. And if it isn't having fun, we won't be either.
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Universal Pictures via Everett Collection
Seventeen years ago, Harrison Ford grumbled four simple words that defined a genre, a demographic, and a country: "Get off my plane." In a pre-9/11 world, there was no shortage of jingoistic glee in a movie like Air Force One, in which a man's man American president doled out justice to a militia of Russian loyalist terrorists who made the silly mistake of attempting to hijack his flight home from Moscow. In 2014, we don't have the luxury of facing a plotline like this with reckless merriment. There's a damp gravity to the premise behind movies like Non-Stop, which in another time would have been nothing more than Taken on a Plane. But rigidly conscious of the connotations that attach to a story about a hijacking of a civilian international flight into John F. Kennedy Airport in New York City, Non-Stop doesn't play too fast and loose. It still plays, and has some good fun doing so, but carefully.
From the getgo, we're anchored into the grim narrative of Liam Neeson's U.S. Air Marshall Bill Marks, who settles his demons with a healthy spoonful of whiskey. A dutiful officer even when liquored up, Marks eyeballs every nameless face in London's Heathrow Airport, silently introducing the bevvy of characters who'll come into play later on. After takeoff, Marks finds himself on the unwitting prowl for the anonymous party who's attempting to take down the red-eye through a series of manipulative text messages, well-timed threats, and clandestine killings. Chatty passenger Julianne Moore and flight attendant Michelle Dockery join Marks in his efforts to identify the mysterious criminal before the entire aircraft falls to his or her whims. So less Taken, more Murder, She Wrote.
Our roundup of suspects challenges our (and their) preconceived notions, and quite laughably — most vocal among Neeson's fellow passengers are a white beta-male school teacher (Scoot McNairy), a black computer engineer with an attitude of entitlement (Nate Parker), a softspoken Middle Eastern surgeon whose headwear gets more than a few focal shots (Omar Metwally), a middle-aged white businessman whose latest account landed him more than your house is worth (Frank Deal), an irate black youngster draped in irreverence (Corey Hawkins), and a white, bald, machismo-howling New York cop who secretly accepts his gay brother (Corey Stoll). Just a few talking heads short of Do the Right Thing, Non-Stop manages to goof on each man's (notice that they're all men — Moore, Dockery, and a barely-in-the-movie Lupita Nyong’o are kept shy of the action for most of the film) distaste for and distrust of one another as they each try to sidle up to, or undermine the harried Marks.
Non-Stop plays an interesting game with its characters and its audience, simultaneously painting the ignorance of its characters with a thick coat of comedy while pointing its finger straight out at us with accusations that we, too, thought it was whoever we just learned it wasn't, and for all the wrong reasons. "Shame on you!" Non-Stop chides, adding, "But let's keep going, this is fun!"
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It is fun — that's the miraculous thing. Without any "Get off my plane"s or "Yippee ki yay"s, Non-Stop keeps its action genre silliness in check (okay, there is a moment involving an airborne gun that'll institute some serious laugh-cheers), investing all of its good time in the game of claustrophobic Clue that we can't help but enjoy. It sacrifices some of its charm in a heavy-handed third act, tipping to one side of what was a pretty impressive balancing act up until that point. But its falter is not one that drags down the movie entirely. Fun and excitement are restored, sincerity is maintained, and even a few moments of sensitivity creep their way through. We might not live in a world of President Harrison Fords any longer, but Air Marshall Liam Neesons could actually be a step up.
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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.