[Last Film I Saw] Men in Black III (2012)

Men in Black III poster

Title: Men in Black III
Year: 2012
Country: USA
Language: English
Genre: Action, Comedy, Sci-Fi
Director: Barry Sonnenfeld
Writers:
Etan Cohen
Lowell Cunningham
Cast:
Will Smith
Josh Brolin
Tommy Lee Jones
Jemaine Clement
Emma Thompson
Michael Stuhlbarg
Mike Colter
Alice Eve
Michael Chenus
Nicole Scherzinger
David Rasche
Bill Hader
Keone Young
Rating: 4.7/10

Saw the film in cinema with a 2D version, after 4 years absence from the screen, Will Smith eventually returns with his most tailor-made MIB suit as Agent J (with his craggier partner, Tommy Lee Jones’ Agent K and the director at the helm of the franchise, Barry Sonnenfeld), the third installment keeps flourishing with all kinds of extraterrestrial creatures which serves its purpose to marvel the audience, that is, a chief achievement not only for this film but also for the entire series.

Another requisite component is the wisecrack-gimmicks between J and K, the young Vs. old/ black Vs. white pair scrupulously sparks in the first half until the time travel gizmo operates, a straight-face Josh Brolin as the younger version of K (he is only 29 in the film? Nobody buys that, right?) doesn’t register any screen chemistry with Mr. Smith. So with an ambiguous testimony for the sake of time-travel and aliens attack, the film has lost its beacon and the villain (Boris the Animal) is so airheaded and doesn’t even has any kick and weight throughout (Boris’ revolting kiss with Nicole Scherzinger has forewarned the film’s scurrility and slackness) !

Several passable gags like the O, K quip, a Andy Warhol mockery, Lady Gaga and Ming Yao’s glance among the E.T. files are the gist of its integral viability as a summer blockbuster, the visual effects are just too standard compared with any other mega-budget productions. Among the supporting cast, a genie-like Michael Stuhlbarg as the hyper-intellectual Griffin who has a superpower to foresee the future and a M-in-the-room stance from Emma Thompson are indeed scene stealers.

A gimmick of going back to 1969 has its intentionally retrospective charm has a and its plot fabrication with moon-landing also shows some shrewd wit in re-igniting the zeal from the modern-day audience (after all there is a 10 years gap between), but in the very end, especially after a saccharine father-bonding finale, it is only a wishful thinking, I hope at least it could revive Will Smith’s screen presence, which should be the minimum favor and purpose of its own genesis.

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