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.
When Lily (Analeigh Tipton) transfers to scenic Seven Oaks three strange but charismatic young women approach her like a girl gang in matching sweater sets. Although Lily doesn't need help with her wardrobe or men Violet (Greta Gerwig) Heather (Carrie MacLemore) and Rose (Megalyn Echikunwoke) recruit her to live with them hang out with them and join them in their efforts to thwart the school's "atmosphere of male barbarism." It's not actually barbaric; it's a fairly normal upper class liberal arts college but to these girls one of whom has such delicate nostrils that she freaks out at the slightest hint of BO we'd be much better off returning to an classier era. Seven Oaks which used to be a women-only campus is a veiled reference to the Seven Sisters colleges some of which like Vassar have gone coed.
With Violet as a slightly awkward ringleader the trio has very strict ideas of what's proper and what's not what kind of behaviors lead to depression and general uncleanliness and what will most enhance each person's happiness. They set out to do this by avoiding handsome men and going for fixer-uppers and offering depressed students tap dancing classes and fresh-smelling soap. However even though Violet's biggest dream is to kick off "an international dance craze " something she assumes will benefit many people on a wider scale than their college-level suicide interventions they all seem sort of depressed. Is it anthropological curiosity that motivates Lily the loneliness of a new school or as with the audience the sort of weird charm shot through sadness that Violet possesses?
Fans of Whit Stillman's talky thinky upper crust movies are overjoyed that the writer/director has returned after 14 years but what will about newbies? Damsels in Distress is somewhat perplexing; there are a few too many characters and subplots that are introduced and then dropped like the young woman whom the gals take in briefly after a suicide attempt. The film brings up questions about identity the ways we lie to ourselves but leaves them dangling. We're given details about who Violet really is in an insightful and startling subplot that could have given the movie a slightly weightier tone but then it shifts back into Stillman territory. To be fair that's why we're watching in Damsels to begin with; the random excursions into the outside world of actual mental illness heartbreak and financial or personal struggle have no real place in Stillman's lovely bubble. In the end it's not clear if there's some greater thrust to the movie some sort of lesson that the protagonists and viewer should be taking away from it all but if we're allowed to turn off our brains for mindless action fodder and enjoy it why not do the same for hyper-literate modern dandies in a world of dance classes and sunny college campuses?
It's also buoyed by a strong cast led by Greta Gerwig and Analeigh Tipton with enjoyable performances by Echikunwoke and would-be suitor Adam Brody as well as excellent costumes that combine the modern look of liberal arts colleges with the perfectly preppy wardrobe of the three girls and occasional dance numbers. Small touches like Audrey Plaza as a wild-eyed and -haired tap dance student referred to as "Depressed Debbie " Gerwig's stoic face even when referring to her breakdown as being "in a tailspin " and a sight gag here and there serve to remind us that Stillman and his team aren't fumbling in the dark here; they're perfectly aware of how enjoyably goofy Damsels is. It's no accident that their college offers a class called "The Dandy Tradition in Literature" that focuses its studies on Evelyn Waugh and others as obsessed with the leisure class as Stillman.