While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]
Biblical epics are so hot right now in Hollywood, and according to Deadline, Will Smith wants in ... as a director!
The film, tentatively titled The Redemption of Cain — about Adam and Eve's sons, Cain and Abel — would mark Smith's directorial debut and would also star him.
Smith, who has a trio of surefire blockbuster sequels coming up (not to mention the recent Men in Black 3, which is already a hit for Sony) as well as the M. Night Shyamalan-directed After Earth next summer, would join a suddenly burgeoning sub-genre that includes Darren Aronofsky's frequently-in-the-news biblical epic Noah and upcoming Moses projects from Steven Spielberg and Ridley Scott.
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Emily Blunt Rosemary DeWitt and Mark Duplass carry this intimate indie with aplomb. Your Sister's Sister starts with a strange premise that could be the basis of a manic romcom but is kept grounded by an excellent cast and script.
Jack (Duplass) has spent a year mourning his dead brother. He's a total mess but his best friend Iris (Blunt) also the ex-girlfriend of Jack's dead brother steps in with some tough love and directs him to take a sabbatical at her family's home on an island off the coast of Seattle. Unfortunately her older sister Hannah (DeWitt) is also there in search of solace after breaking up with her long-term girlfriend. Hannah and Jack mourn their lost loves over a large bottle of tequila and wake up with monster hangovers…and a surprise visit from Iris.
Your Sister's Sister a messy funny and sometimes sad love story about family. Who do you choose to be in your family? What exactly can you forgive when people you love go too far? Writer/director Lynn Shelton starts with an odd farcical proposition similar to her debut Humpday wherein two buddies decide they have to prove their friendship their open-mindedness and their heterosexuality by making a porn movie together. Shelton takes similar risks with ideas about the fluidity of sexuality and love but pushes it forward in Your Sister's Sister. Its emotional risks are more real. The bond between Iris and Hannah is tangible and complicated. Iris worships her older sister she climbs into bed with her and whispers secrets to her in the dark but she is also a grown woman who is abruptly forced to face Hannah's all-too-human flaws. Jack is he weakest character but Duplass plays him as the likeable but screwed-up shaggy dog type he's known for in the indie world. DeWitt and Blunt are perfectly matched although one would be hard-pressed to otherwise cast them as siblings albeit half-sisters. They play off each other perfectly and the best example of this is a joke Hannah lobs at Iris during dinner that DeWitt ad-libbed.
Like its characters and writing the cinematography feels wider in scope and more breathable in Your Sister's Sister. Cinematographer Benjamin Kasulke captures both the intimacy of three people trying to keep secrets from each other in a small house as well as sweeping views of the woods and water surrounding them. The direction is more sure-footed and less dependent on the intense close-ups that dominated Humpday. The end result is a fleshy delicious love story. It's savory and joyous and leaves the viewer with some hope for love — all types of love.
Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.
Sting's actress daughter Mickey Sumner has landed the coveted role of punk icon Patti Smith in star-studded new movie CBGB.
Sumner was added to the cast on Monday (04Jun12), alongside Foo Fighters rocker Taylor Hawkins, who will make his acting debut as Iggy Pop in the film about late New York club boss Hilly Kristal, portrayed by Alan Rickman.
The twosome joins Johnny Galecki and Steven Schub, who will play Terry Ork and DeeDee Ramone in the film, and sexy Malin Akerman, who will play Blondie star Debbie Harry.
Also among the cast: Evan Alex Cole as Richard Hell, Avatar star Joel David Moore as Joey Ramone, Stana Katic and Rupert Grint.
Filming will begin in Savannah, Georgia and New York City later this month (Jun12).
Movie spokeswoman Nadine Jolson tells WENN, "The story will follow Kristal who dreamed of having a Country, Bluegrass and Blues club in New York City. When he had difficulty finding country and blues bands, he opened his doors to local acts. He had one demand of the acts he booked: They could only play their own original music.
"Living on a couch in the back of the club for the first two years, Hilly could barely make ends meet. Nevertheless, CBGB became such a well-respected haunt for artists that many bands begged Hilly for a chance to play."
Almost exactly four months after sequels for X-Men: First Class and Rise of the Planet of the Apes were confirmed, they each get a release date: The former will hit theaters on July 18, 2014, while Dawn of the Planet of the Apes is due May 23, 2014.
Both movies were huge hits for 20th Century Fox last summer, earning the studio more than $800 million combined at the worldwide box office. So it is no surprise that sequels to both were greenlit pretty quickly. As of now, it appears that both of the films' directors, X-Men's Matthew Vaughn and Planet of the Apes' Rupert Wyatt, will reprise their respective behind-the-camera roles on the follow-ups.
Meanwhile, it was just announced — although certainly inevitable all along — that the Will Smith star-maker Independence Day will be rereleased in 3D on on July 3, 2013, 17 years to the day after ID4 (alien-)invaded theaters. It was previously reported that two sequels to the movie were in the works as well, so maybe the studio will wait to gauge interest in the 3D version before starting work in earnest on new installments.
Finally, and much less exciting by comparison, Steven Spielberg's highly anticipated sci-fi/drama/actioner Robopocalypse has been pushed back from the aforementioned Independence Day rerelease date of July 3, 2013 (possibly because of that news) to April 25, 2014. Does that mean that in the not-so-distant future, summer will start in April?! Disney also shifted the Johnny Depp-starring Lone Ranger from May 2013 to July 4, 2013.
And if you think that's the end of the shuffling, think again — as demonstrated this summer by G.I. Joe: Retaliation, no movie is safe until it actually hits theaters!
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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.
Apples and oranges. Day and night. Prostitutes and Amish people (as Yahoo answers tells me in a search for “opposite things”). Phillip Phillips and Jessica Sanchez, our final two finishers on American Idol’s 11th season couldn’t be more different if they were named Ryan Seacrest and Brian Dunkleman. One is a low-key growler with a penchant for pissing off famous fashion designers, while the other is a strong-voiced troubadour with a penchant for making you feel like you’ve broken a law just noticing her wardrobe.
The main problem with our Top 2? They have no problems. Here, at the end of our Idol road, are two polar-opposite singers so on top of their games, they might as well be battling Bowser. Of course, this makes it quite difficult for us obsessed fans, who are begging for someone to irrationally root against in the finale. But we no longer have an uneven Hollie. We no longer have the favorite son Joshua. And we no longer have terrible cowboy guy.
Instead, we’re left with two extremely likeable, extremely talented singers. And, for the first time since the Season 8 finale between Kris Allen and Adam Lambert, it’s difficult to side with one or the other. Not that it’s necessary — after all, at this point, a Phillip win is about as predictable as my projectile vomit hearing an Armageddon song on Idol.
Not only was the crowd and history on his side — with the exception of the Illinois-based Lee DeWyze, a male from south of the Mason-Dixon line has won every year since Season 6 — but poor Jessica was saddled with the atrocious original single “Change Nothing,” a name that invites far too many headline-worthy puns. (Jessica, change everything, please!) Holy “No Boundaries,” was that a clunker or what? We’re talking about a contestant who could sing the phonebook, the newspaper, or Fifty Shades of Grey — yet “Change Nothing” managed to change Jessica into a floundering singer with an inability to nail any register. True, it wasn’t as bad as “No Boundaries,” but even hangnails, paper cuts, and James Blunt aren’t as bad as “No Boundaries.”
Jennifer Lopez was right — during her one moment of usefulness last night — that Jessica had been given the wrong song to suit her R&B-worthy voice. (“You have to be able to say to someone, this is not me,” the bootylicious one told Jessica, lending advice that all of Idol’s pigeonholed former contestants would have been well-served to hear.) Instead, Simon Fuller was wise in his attempt to transform Jessica into a Whitney Houston incarnate with “I Have Nothing,” the third Houston song Jessica has sung in the past four months. That said, as much as Jessica boasts the powerhouse vocals of the late legend, Idol fans expect more than a note-for-note cover of a song more suited for the days of Season 4. Or should I say almost every other Idol season ever? After all, the song has been performed by the following: Trenyce in Season 2, Leah LaBelle and Jennifer Hudson in Season 3, Vonzell Solomon in Season 4, Katharine McPhee in Season 5, LaKisha Jones in Season 6, and Shannon Magrane earlier this Season 11. Idol needs to retire this song three years ago like it’s Leno.
Jessica’s smartest move of the evening was choosing “The Prayer” as her personal choice, reviving a pre-semifinals power ballad that was all but wiped from our memory following her “I Will Always Love You” cover during Top 13. The repeated finale vocal has always been an Idol pet peeve of mine — don’t the producers know that super-fans can recall every twitch and vocal trick of a previous performance, thanks to the wonders of YouTube and workplace procrastination? Still, only David Cook in Season 7 has been able to deviate from the directive, performing new cover “The World I Know” while David Archuleta rehashed “Imagine.” And Cook was better off for it — not only was “The World I Know” one of the most touching and perfect performances of all-time on Idol, but the originality helped bag him the win. (Let's go back to those simpler times with simpler rules, Idol, shall we?) But while our contestants may no longer be given the choice, Jessica did right by allowing us to remember what we had nearly forgotten. And it would have been a shame if we had — Jessica’s “The Prayer” blew my mind harder than the concept of Ace Young and Diana DeGarmo actually being a real-life, bona fide couple. (The American Idol fan fiction file in my brain just imploded. Nikko Smith and Julia DeMato, you better be next.)
NEXT: At home with "Home."Sadly for Jessica, she still doesn’t have a prayer come Wednesday evening. Mostly because Phillip, equipped with a pimp slot, actually delivered an original performance that was radio-ready in our contemporary music environment. Randy was right to say “Home” sounded like a Mumford & Sons hit. The friends I watched the penultimate episode with were right to say it sounded like a Dave Matthews hit. And I felt Phillip was right to throw in a little “Dust in the Wind”-esque inspiration for extra flavor. In other words, the song sounded right. It sounded appropriate. It sounded Phillip, which is typically something we cannot say about any schmaltzy victory single. You’re my boy, Phillip!
Now, following round 2, I wasn’t so sure of Phillip’s victory — “Movin’ Out” was too recent in my memory for me to be really moved, and the only part of the slowed- and stripped-down “Stand By Me,” Simon Fuller’s choice, was the sweet lick at the end of the song. (That was a gift to you Philophiles: Phillip and “sweet lick” in the same sentence. Sweet dreams.) But following his star-making turn during last week’s “We’ve Got Tonight” and “Beggin’” — and Jessica’s underwhelming “My All” and “I’ll Be There” — it’s difficult to imagine a scenario in which Phillip’s fans don’t beg the AT&T gods for a win tomorrow night. Hell, the dude doesn’t even have to speak actual words anymore to win over fans — just see his nonsensical response to Ryan Seacrest’s “Phillip, how do you feel?” The guy’s like a still-talented Adam Sandler — people will love everything he does, no matter the effort involved. Plus, Rob Schneider, as Randy’s lapel pin!
Still, does Jessica deserve to win just for having to sing “Change Nothing”? Do you hate the finale performance repetition like I do? Did you go to YouTube to watch “The World I Know” halfway through reading this? (I did.) Does Steven Tyler belong on The Bachelorette, what with his egg talk? What over-eager intern has been tasked with creating the dramatic opening numbers each Wednesday? Was Jason Derulo’s new America-collaborated song as unlistenable as it was “Undefeated”? And is seeing Derulo’s girlfriend, Jordin Sparks, making you wish Idol would release contestant dolls so you can make them all date other Idol figures? Am I too obsessed? Don’t answer that.
Follow Kate on Twitter @HWKateWard
[Image Credit: FOX]
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Men in Black 3 is scheduled to hit theaters on May 25, which gives movie junkies plenty of time to ponder what kind of antics Agent J (Will Smith) and Agent K (Tommy Lee Jones) have in store for the final conclusion of the extraterrestrial trilogy. So to help quench your thirst for alien knowledge Director Barry Sonnenfeld recently revealed in an interview with Collider that Lady Gaga, Justin Bieber, and Tim Burton will all definitely be making special appearances in the film — as aliens in disguise.
It makes you look at Bieber Fever and that whole "Little Monsters" thing a little differently doesn't it?
As for when and how the stars will make their MIB debut, Sonnenfeld announced that they'll each appear on the famous alien surveillance board, which has been featured in each of the movies. "In this [film] there are a few people that you'll see up on the surveillance board including Lady Gaga, Tim Burton, who probably knows more about aliens than I do, and let's see who else...Justin Bieber," Sonnenfeld remarked.
He also went on to explain how they go about choosing the stars to showcase. "The challenge is getting celebrities that are famous, will give you permission and won't be like 'Who's that guy?' in 10 years," Sonnenfeld said.
Of course this isn't the first time the franchise has jokingly outed a celeb as an alien who walks among us. In the first film Al Roker, Isaac Mizrahi, Danny DeVito, Sylvester Stallone, Dionne Warwick, Newt Gingrich, Anthony Robbins, George Lucas, and Steven Spielberg all made cameos as "known aliens" on the surveillance board who were living incognito during their stay on Earth.
And who could forget Michael Jackson's surprise appearance in Men in Black 2 as Agent M — a role that the King of Pop himself fought hard to have. Indeed, the amount of talent in these films is just out of this world...literally.
Men in Black 3 arrives in theaters May 25.
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