AD ASTRA Review

Ad Astra is a Trojan horse of a movie for as mainstream as a film about space exploration wrapped in mystery and starring Brad Pitt sounds like it would be if one is able to expel such expectations set by the marketing and feast on the fulfillment that Ad Astra ultimately embodies given the aspirations of writer/director James Gray's (Two Lovers, The Immigrant, The Lost City of Z) latest work one would quickly come to realize this is a film filled with ideas and questions bubbling just below the surface despite its apparent facade; questions the movie as well as Gray's screenplay may or may not have answers to. Ad Astra is also, and not coincidentally, a film that is as slick in its storytelling as it is its visual representation meaning there is an immediate confidence to the film that speaks to the idea that it knows exactly what it wants to be and where it's going even if, as we go further into the deepest reaches of our solar system, the philosophical ponderings posed by the film seem to be or at least feel more like questions born out of questions that were born out of the writing process. Moreover, the themes and ideas Ad Astra ultimately come to wrestle with being more the products of streams of consciousness writing than they do necessarily questions that pertain directly to the initial idea Gray was chasing. There's nothing wrong with this, of course, as it in fact makes for a rather rewarding experience given the mysteries the narrative offers. The few, distinct answers the film delivers are slight in both comparison and reward to the number of new questions and ideas one's own mind will generate; the thought of the individual experience and reaction to certain material being such that each individual will respond differently, but with valid interpretations and inquiries is a claim not many films-especially mainstream Hollywood space movies with movie stars on their posters-can claim these days. Yes, there have been a number of films about space starring members of the Ocean's Eleven ensemble lately, but neither of those films approach the topic of the stars with as much of a balance in cynicism and optimism as Ad Astra does. Given the Trojan horse comparison, one might expect the subtleties of the film to outweigh the more blunt aspects general audiences require from a space adventure, but there is a specific moment when, like Pitt's character of Major Roy McBride, we come to realize there are more layers to the picture than the ones being highlighted for us and that we can choose to either dig as deep as we'd like or revel in the surface pleasures-both have their perks-but the true reward comes in finding your own place to land.

First Trailer for AD ASTRA Starring Brad Pitt

It seems as if I first heard about James Gray's Ad Astra a little over a year ago when it was scheduled for release in May of this year, but the premiere showing at the Cannes film fest was canceled and the rumors were that the opening may be delayed until the fall depending on the Fox/Disney merger and how everything shook out with that. Well, it seems the fall it will be as 20th Century Fox (as now owned by Disney) has released the first trailer for Gray's follow-up to his critically acclaimed, but seemingly little seen The Lost City of Z (you can stream it now for free if you have an Amazon Prime account). The filmmaker has also had good luck with critics in his 2007 and 2008 releases of We Own the Night and Two Lovers, but neither of those lit the box office on fire either and I'm curious as to what it is that might keep the hordes away given Gray tends to attract some pretty big names to his movies. For instance, Pitt has been eager to work with the director for some time as he was originally scheduled to star in The Lost City of Z, but had to drop out due to scheduling conflicts. Gray has worked with both Mark Wahlberg and Joaquin Phoenix multiple times, but not even when he paired those two in that aforementioned 2007 crime thriller was he able to tap into a wider audience. I say all this with the hope that Ad Astra is the turning point for the filmmaker. Gray, who wrote the original screenplay with Ethan Ross (Fringe), has seemed to craft nothing short of a fascinating mystery/sci-fi film that isn't so much going to be leniant on the "fiction" part and instead be more grounded in its approach to discussing extraterrestrial life forms. In the film, Pitt plays an astronaut who travels to the outer edges of the solar system to find his father and unravel a mystery that threatens the survival of our planet; ultimately uncovering secrets that challenge the nature of human existence and our place in the universe. This sort of thing is right up my alley. I love when movies really go for it in the vein of something like 2001, The Tree of Life, or Interstellar, and this film seems as if it will fit really well into that line-up. It's also encouraging that films like Gravity, The Martian, and the aforementioned Interstellar have done well financially in a similar release landscape as this film will face. Ad Astra will also star Tommy Lee Jones, Ruth Negga, Liv Tyler, Donald Sutherland, John Ortiz, Kimberly Elise, and opens on September 20th, 2019.

MECHANIC: RESURRECTION Review

I saw the 2011 Simon West re-make of the seventies era Charles Bronson film, The Mechanic, starring Jason Statham as an elite assassin with a unique talent for eliminating targets and making it look like it was an accident. I'm pretty sure I saw that one. I did. I know I did because I generally enjoy these no-brainer action flicks Statham pops out randomly once or twice a year, but why this admittedly forgettable re-make from five years ago needed a sequel is unclear. Unclear really isn't the right word though, as this thing is totally unnecessary and that's obvious from the get-go. There is no ambition behind the product, there is no flair to the fight sequences, and the bigger action "spectacle" looks so cheap this may as well have run after Sharknado 7 on the Syfy network. Still, we have Mechanic: Resurrection because why not at this point? If one is interested in this sequel it will undoubtedly be due to the fact they either love seeing Jason Statham beat people up or they have a general affinity for bad movies. The thing with Mechanic: Resurrection though is that it's not even a good bad movie. Guilty pleasures, if you will, give audiences something to enjoy despite the obvious shortcomings of the overall product whereas with Mechanic: Resurrection there is very little to enjoy at all. So sure, I like to think of myself as a Statham fan especially when he's given the opportunity to take these archetypal action heroes and turn them into brooding bad asses that actually are action heroes with none of the nonsense that differentiates him from say, the James Bond franchise. Statham doesn't normally mess with the fancy gadgets or the outlandish cars, but more he goes in, takes care of business, and escapes before the cops show up. In short, he's no nonsense, but that's all Mechanic: Resurrection is. Still, I can feel that for people who only venture out to the movies once or twice a year and will for some reason pick this as one of those two movies to see will inevitably find it to hit all the right spots and send them home happy due to the fact it met their expectations for an action movie with an evil European villain, but to them I say, "please spend your money on anything else-Hell or High Water if it's playing near you or Star Trek Beyond if it hasn't disappeared from theaters yet." Both are prime examples of B-movies done right; utilizing their genre restrictions in fun and refreshing ways whereas the only B-word to describe this latest Statham movie is bad. Just plain bad.

JASON BOURNE Review

After nearly a decade in seclusion and having resorted to bare knuckle brawling for petty cash Jason Bourne resurfaces with the simply titled Jason Bourne, but was there really a need for him to? Given the pristine state of the original trilogy (I didn't mind The Bourne Legacy as much as some, but don't mind forgetting it either) there was hesitance on my part to come to terms with the fact director Paul Greengrass (Supremacy and Ultimatum) and star Matt Damon could potentially ruin what didn't necessarily need another chapter. Of course, I really enjoy the Bourne films and the prospect of another was naturally enticing, so...double-edged sword. That said, the biggest obstacle this new film was going to have to overcome was that it has in fact been nine years since Bourne was on the big screen and given time goes on there would have to be something almost cataclysmic happening if Bourne had somehow managed to stay out of the spotlight this long and then suddenly be pulled back in. This was the code Greengrass and co-writer Christopher Rouse (who has served as the editor on all of the Bourne films) were going to need to crack if they were going to have fans of the series buy into the fact Bourne was indeed back and it is here that the cracks instead begin to show in their lack of inspiration rather than the other way around. Essentially giving Julia Stiles' character, Nicky Parsons, the task of delivering exposition before telling Bourne that she has somewhat involuntarily pulled him back into this world he has been working so hard to evade things already smell funky. Without going too far into spoiler territory is to simply say that the biggest hurdle this film was going to have to overcome is basically dismissed with a single line of dialogue and then not really taken into account again due to the fact it seems Greengrass and Rouse know they don't have the best justification for the films existence. Still, once we do get past this initial hurdle in the first act of the film Jason Bourne becomes what we know and recognize from the previous films and if that is what you're looking for then you'll no doubt come out more pleased than pissed. As a Bourne fan, I had a fine time with the film and enjoyed several of the story elements, but that it did feel so familiar was disappointing. The story of Jason Bourne is one of the rare instances where it became more intriguing with each additional film, going in different directions than expected and adding new layers to the titular characters past, but while Jason Bourne once again discovers more of his past here the film fails to go anywhere new with its narrative.

First Trailer for MECHANIC: RESURRECTION Starring Jason Statham

Anyone remember the Jason Statham flick from five years ago where he played one of his many hit man characters with the twist that in this flick his character teaches his trade to an apprentice who has a connection to one of his previous victims. No? Well it was called The Mechanic and apparently it made enough money to justify a sequel because we're getting one in a couple of months. The original, produced by CBS films, only made $62 million worldwide on a $40 million budget so it must have done well on home video and with its television rights as $22 million minus the marketing costs doesn't exactly signal that audiences were clamoring for more. With Lionsgate and Summit co-producing this sequel though I imagine they have kept the budget low and with the movie opening in August and the promotional campaign just now kicking into high gear I also imagine they did the same with that marketing budget. Still, there is a sleekness and rather expensive looking quality to the visuals we get in this first trailer as Statham has returned as Arthur Bishop as he tries to put his murderous past behind him, but naturally has to return for one last job when his most formidable foe kidnaps the love of his life. The original film was directed by action veteran Simon West (Con Air) and penned by a two-man writing team that included the original screenwriter from the 1972 Charles Bronson version from which the 2001 version was adapted, but this sequel sees none of that creative team returning. Instead, a few writers with few to no credits have been enlisted as has a director who has little more than what seem to be direct to video offerings in his filmography. These credentials combined with the addition of Jessica Alba don't exactly boost confidence in a Mechanic sequel being any good, but Statham doing his thing and Tommy Lee Jones going all out for the first time in a long time is enough to get me interested. Mechanic: Resurrection also stars Michelle Yeoh, Natalie Burn, Sam Hazeldine, and opens on August 26th, 2016.

Full Trailer for JASON BOURNE Starring Matt Damon

It has been almost nine years since we last left Jason Bourne swimming into the abyss. Of course, there was that one film about chems that attempted to have Jeremy Renner carry on the series after it seemed Matt Damon was firmly opposed to returning to the character, but alas here we are. For the record, Damon never said he wouldn't return to the world of Bourne, just that he wouldn't do it without the guidance of director Paul Greengrass, but once Greengrass committed himself to return Damon signed on as well. It's been very unclear where this latest chapter in the Bourne saga would take the titular character, but the fact the major creative team (minus Tony Gilroy) from both Supremacy and Ultimatum have returned (the best entries of the series in my opinion) is a hugely promising sign that we're in for what will hopefully be an exceptional spy thriller that will carry on the legacy those aforementioned sequels began rather than tainting it as the Renner spin-off did. Both Damon and Greengrass along with the directors frequent collaborator, Christopher Rouse, have scripted this fourth installment simply titled Jason Bourne. Given their seeming investment in this world and in this character I can only imagine they'd agree to return only if they felt they had a story that was worth telling. It's kind of nuts to think that Damon was only thirty-two when he made The Bourne Identity and will turn forty-six in October, but that doesn't seem to have slowed him down at all as the actor looks in top form in this first, extended look at the film. As it sits now, relying solely on the footage we've seen it looks as if Damon and Greengrass just might bring a whole new meaning to the phrase, "The Bourne Legacy." Jason Bourne also stars Julia Stiles, Alicia Vikander, Tommy Lee Jones, Vincent Cassel, Riz Ahmed, Bill Camp, Ato Essandoh, and opens on July 29, 2016.

CRIMINAL Review

There was a time when something like Criminal would have reigned supreme at the box office and likely been heralded to some degree as unique in its premise if not necessarily successful in its execution, but in this day and age not only is Criminal not fresh or unique, but it's extremely tried and rote. I don't know that there was a time when Kevin Costner was a box office gold type name on the poster, but there was certainly a time when Costner was considered a surefire movie star that would at least guarantee a certain number of butts in seats. It seems, at least from what I hear of the movie star heyday, that there was a time Costner could have more or less played this same role in the same movie and it would have been a much buzzier film with bigger box office prospects based off his name alone (not to mention co-stars Gary Oldman and Tommy Lee Jones being value add elements). Unfortunately for Costner this is not the world we live in anymore. Instead, we live in a world where the best hope you have of becoming something even resembling a cultural phenomenon is being based off a comic book, young adult literary series, or have any other type of brand recognition/nostalgia factor you can tap into. When it comes to original action dramas like Criminal though, chances are slim of anything greater coming of your efforts unless you have David Fincher behind the camera. All of that said, this is a movie that squanders any potential it might have had at being an exception to the rule by adhering to very little coherence and even less logic. Truth is, I wanted to enjoy Criminal-I wanted to dig into it like the fictionalized Dateline episode I expected/hoped it would be and get wrapped up in the sci-fi tinged mystery that it presented, but instead the film plods along at an unusually clunky pace, never deciding what type of movie it wants to be yet appearing very obviously to be a very specific type of movie from the cast, narrative, and creative team alone. It's not that Criminal is necessarily a terrible movie, though it has some terrible parts, but it is most certainly not a good movie and even worse is it's not even a movie worth watching passively.

First Trailer for CRIMINAL Starring Kevin Costner

I'm not sure what to make of this trailer. Part of me wants to believe the film it's advertising could hold some potential given the cast and the old school style of the procedural it seems to be mimicking, but the other part of me believes it could be little more than an off-shoot sequel to last years Self/less that will wind up being as irrelevant and inconsequential as that film was. It is strange how similar the plots of both this film and that Ryan Reynolds-starrer from last summer are especially given Reynolds has a bit part here that this time has his memories and mind going into someone else's body instead of the other way around. Needless to say, Criminal has a lot going on and while most of the time it is easy to pick up on how a film will eventually turn out from the trailers and promotional materials I have a feeling this is either going to be as big of a train wreck as it clearly has the potential to be or it could be a rather pleasant surprise. Given the talent behind the camera includes The Iceman director Ariel Vromen and writers David Weisberg and Douglas Cook (The Rock, Double Jeopardy) there is certainly a possibility of the latter coming true. In that this was written by who it was written by and feels like a pure nineties action thriller it is fitting that Kevin Costner should be the lead and Tommy Lee Jones is also showing up, but more than simply imitating those types of films from that decade I'm hopeful Vromen can put a unique spin on the procedural while not having it spin out of control as it seems the plot has already taken care of that. Color me curious. Criminal also stars Gary Oldman, Gal Gadot, Alice Eve, Scott Adkins, Michael Pitt and opens on April 15th, 2016.

THE HOMESMAN Review

Nowadays when one sees Hilary Swank gazing past the camera and through to the unknown on a poster we typically imagine it as a precursor to some uplifting tale where her character is the catalyst for change. One would again think that is the case with The Homesman as her Mary Bee Cuddy is certainly the most honorable character we come in contact with, but this isn't an uplifting drama that feels manufactured to redeem your confidence in the human race. In fact, if the film says anything about the human race it is about the savagery from which we spawned and the role of the female in the old west. Cuddy was a feminist without knowing the word to describe herself. She was a woman who heralded the strength of being a woman on her own, supporting herself and an advocate for equality all while feeling out of place because of the time in which she lived. It is an unfortunate scenario to say the least, but it certainly makes for an interesting character study and director Tommy Lee Jones seems to understand the ideas and themes he is playing with as his character, George Briggs, is both confused by yet struck with admiration by the confident and brave Ms. Cuddy. In The Homesman, what we have is a straight-forward tale of straight-forward people. There are no artistic flourishes (though much of the framing here results in a gorgeous visual prowess) or intent to be subtle about the politics of what topics the story is playing with, but rather Jones presents this story in a very matter-of-fact manner that suits the time period and the personalities of most while leaving the audience riddled with an unexpected clarity. It is one thing to say something turns out different than you expected because that would more generally be the case in film, but it is another to say you didn't expect what something had to offer and while I expected to get a fine enough western from an actor/director who clearly appreciates the genre, what I received was a meditative, heartbreaking and downright moving look at what life promised (or couldn't depending on how you look at it) during that time and how sometimes that wasn't enough to keep on going.

THE FAMILY Review

There is something oddly sweet to a black comedy like The Family. Even though labeling it as a "comedy" doesn't feel right though as this is clearly just trying to be what it is and nothing more. In many ways this is a movie that is very much in love with itself and the genre it so desires to be a part of. It is a love letter from writer/director Luc Besson (The Fifth Element) who seems to have always wanted to make an American gangster film, but could never find the twist he would like to put on his own story until now. As this is executive produced by Martin Scorsese and stars a myriad of familiar faces in the mob genre you can see how Besson might have accomplished his goal. On the other hand it is with extreme caution we approach an off hand Robert DeNiro comedy these days as he's appeared in countless studio projects over the past few years that have looked to be little more than nice paydays. This ultimately seemed to be the most offensive though, not only because he was tarnishing his legacy by starring in another forgettable movie that would no doubt be seen by few people, but because he was now tarnishing the legacy with a rip off of the kind of movies that gave him said legacy. Fortunately, this is not the case for as much as The Family is in love with itself it is also a sincere tribute to mob movies and the way they function. It places DeNiro at the head of the table because it wants you to be reminded of James Conway and Sam "Ace" Rothstein and has Michelle Pfeiffer at his side because of 1988's Married to the Mob and even Scarface. These are not perfect examples of type casting in the casual sense, but they are intentional casting because they are both recognizable to general movie audiences and function as a nice nod to past work as well as a nice inside joke for cinephiles. I wouldn't say all of this without the confirmation of a single scene that takes place in the latter half of the film that is brilliantly executed and downright hilarious to watch unfold. I won't give any more away than that, but will say it's worth the price of admission alone though I doubt you'd be disappointed in the rest of the movie either because it's actually pretty damn fun.

LINCOLN Review

When coming from a generation where director Steven Spielberg has already been placed upon a pedestal as an iconic director it is hard to look at anything the guy does with anything less than high expectations. While other times it will naturally feel as if the man is skating by on his reputation rather than his abilities that could have easily come to a halt once reaching such a status. I have always wondered about this, wondered if Spielberg had what it takes to continue walking his line between serious films and blockbuster money-makers while maintaining his credibility with the critics and keeping the general public intrigued no matter what type of project he chose to take on next. In the time since I began seriously loving films (say, the last ten years) the director has created two genuinely great films and a slew of others that are very good. One thing was ultimately clear, these movies were made by a filmmaker who knew what he wanted and no matter the genre or the size has the power to make you feel something, an inherent reaction to what is happening on screen. While I have always been a fan of Spielberg and of course have wrestled with what some of his films might have become were they made by a less established name, none of this came into consideration when reflecting upon Lincoln many hours after the credits rolled. A film that has been in the works for over fifteen years, it is simply rewarding to see this work finally come to fruition. An intense and stirring look behind closed doors that doesn't cover Lincoln from birth to death but instead focuses on a small window in his life that very well defines why the man still commands an iconic status today.

HOPE SPRINGS Review

There is certainly a level of expectation that comes with a movie when it touts the name Meryl Streep above its title. Whether the stigma that anything Streep touches will turn to gold has certainly been tested before I thought it might be put to a real challenge with her latest, Hope Springs. While the cast is stellar, along with Streep we have Tommy Lee Jones and Steve Carell and they all have more than enough credit to promise us that something more than the typical romantic comedy might deliver. Still, it didn't seem too far fetched an idea that the movie might stumble into farcical comedy and become nothing more than a way to pass a rainy afternoon at the movies. Directed by the guy who burst onto the feature film scene with Streep by his side six years ago in  The Devil Wears Prada, David Frankel has since made a name for himself directing heartwarming tales like his huge follow-up success Marley & Me while last falls The Big Year was a disappointment in more ways than one. Frankel seems to have reconnected with his comfort zone this time around and has found a way to make not only the romantic comedy feel fresh, but in many ways re-invent the tired and broken wheel. Hope Springs looks at a relationship after thirty-one years of marriage, two kids, and a routine that has driven a solid wedge between what was no doubt once a very happy couple. This has more dramatic moments to it than you might expect given the trailers inclinations, but when the laughs do come they feel so natural and organic it is refreshing. And while it is hard to imagine either of these very famous movie stars having such a tough time with personal issues it is at the same time fascinating and comforting to know we all will deal with the same things when it comes to that mangled emotion of love.

Kay (Meryl Streep) has a hard time taking some of
the advice from her marriage counselor.  

When we first become acquainted with Kay (Streep) and Arnold (Jones) it is clear that Kay is trying to add a little bit more spice to a marriage that has run dry of any romance and has no hint of intimacy whatsoever. Sleeping in separate rooms, Arnold barely even acknowledges that Kay is around other than to make him breakfast or dinner and set out his paper. He is a comfortable partner at a law firm and supplies her with more than enough domestic needs to keep her happy. Kay has a job at Coldwater Creek that keeps her busy during the day and when she returns home to cook dinner and wash the dishes Arnold simply takes it in stride and hits the recliner for some Golfing tips until he falls asleep. Their lives are bland, they are uneventful, and Arnold seems to feel he has done his job as a husband and father and is now just waiting for the inevitable. Kay clearly, and with good reason, has some issues with death being the only thing left to look forward to and so she decides it is time to either go big or go home. Finding solace in a book she comes across in Barnes & Noble by Dr. Bernard Feld (Carell) Kay decides to book a trip to the picture perfect town of Great Hope Springs where Dr. Feld can treat them to a week of intense couples counseling. While the stubborn Arnold is a role Jones has played countless times before he lays out the one-liners here with such charisma and perfect timing one can't help but endear themselves to his curmudgeon-like persona. Despite his hesitance to even go, Arnold gives in but his toughest challenge has yet to face him-or Kay.

Arnold (Tommy Lee Jones) and Kay find their
marriage in a rut in Hope Springs.

What makes the film so enticing is its ability to not only dissect the reasons a marriage can fall into such disconnection and what caused these rifts but it examines the two very people that have made the union turn out in such a way. In the beginning we are clearly made to side with the willing and soft-spoken Kay who seems to want nothing more than the affection of her husband. As with getting to know any person past a first impression though, it slowly becomes apparent there is more to Kay then we might have initially perceived. That Arnold may not be as bad a guy as we thought and that there is more to making a relationship work than simply giving the other person what they want. Anyone who has ever been in a relationship will likely be able to relate with the issues that Kay and Arnold are going through while anyone who hasn't can certainly learn from what is being offered on film. That a film can relate on so many levels is certainly an admirable quality, but what makes this so is the up front and abrupt approach the movie takes with its subject matter. It is a very adult drama and it never panders to any specific audience. It is refreshingly honest and doesn't feel contrived in the least bit. Sure, there are some questionable music choices here and there that make the movie feel more Hallmark Channel than I would have liked, but that doesn't distract from how poignant the message of the film is.

Dr. Feld (Steve Carell) is a renowned couples therapist.

The entire film literally centers around the three actors and their progress with one another. Carell, in a supporting role that requires him to deliver zero funny is made so humble and touching by the actor it is hard to imagine any other actor could have pulled off the role with as much success. As Arnold voices his opinion of the therapist profession there will surely be a good number who agree that they do nothing but bring up more issues in order to grab more money to solve more problems. Yet as he showed in last years equally moving Crazy, Stupid, Love Carell is such a sincere presence that not for a second do we believe Dr. Feld has any kind of hidden agenda. Jones was equally as impressive playing a character he is more than accustomed to he could have phoned in a performance from a mile away, but he seems fully invested here. He is in this for the right reasons, he believes he has been the best man he could be and he wants to see that work really pay off. He gives Arnold that gravitas he deserves and when his character goes for it not only does it deliver one of the sweetest scenes in the film, but one of the most touching moments I've seen in a movie this year. Streep does what she does so good and integrates herself into the world of middle to upper class housewife in the most subtle ways. Giving her voice that higher, airy feel while whoever took on the duty for costumes here does a great job of fitting each character into their role with ease. It is easy to criticize and make fun of a film that features older actors getting it on, discussing their sex life, and generally making a fool of themselves, but with the right people it becomes something much more. A sentimental and moving look at love grown tired. One of the better films this summer has offered us.

HOPE SPRINGS Review

There is certainly a level of expectation that comes with a movie when it touts the name Meryl Streep above its title. Whether the stigma that anything Streep touches will turn to gold has certainly been tested before I thought it might be put to a real challenge with her latest, Hope Springs. While the cast is stellar, along with Streep we have Tommy Lee Jones and Steve Carell and they all have more than enough credit to promise us that something more than the typical romantic comedy might deliver. Still, it didn't seem too far fetched an idea that the movie might stumble into farcical comedy and become nothing more than a way to pass a rainy afternoon at the movies. Directed by the guy who burst onto the feature film scene with Streep by his side six years ago in  The Devil Wears Prada, David Frankel has since made a name for himself directing heartwarming tales like his huge follow-up success Marley & Me while last falls The Big Year was a disappointment in more ways than one. Frankel seems to have reconnected with his comfort zone this time around and has found a way to make not only the romantic comedy feel fresh, but in many ways re-invent the tired and broken wheel. Hope Springs looks at a relationship after thirty-one years of marriage, two kids, and a routine that has driven a solid wedge between what was no doubt once a very happy couple. This has more dramatic moments to it than you might expect given the trailers inclinations, but when the laughs do come they feel so natural and organic it is refreshing. And while it is hard to imagine either of these very famous movie stars having such a tough time with personal issues it is at the same time fascinating and comforting to know we all will deal with the same things when it comes to that mangled emotion of love.

MEN IN BLACK 3 Review

I am a huge fan of the first Men In Black film. Like, I would rank it up there in my top 10 favorites of all time. This, as you might suspect led me to really dislike the sorry excuse for a sequel that was released, count em, 10 years ago. In their absence from the cineplex alot of things have changed, but this might be why the third installation in the series feels so refreshing. Refreshing in the sense that it is reminiscent of the original film while throwing in a nice twist for good measure. There is nothing unconventional about this latest and some would say unnecessary sequel, but it lives up to every standard that was being held for it. All of the original stars are back here plus one and director Barry Sonnenfeld has of course returned as this is really his only bread and butter as a filmmaker. While I and everyone had good reason to be cautious before walking into the film and even still as the opening scene played. It began to come back to me, the excitement to see these characters go on another adventure was plagued by the blandness of the script and non existent enthusiasm of the cast. There was no spice to the routine, it was standard and I began to fear the worst: a repeat of the sequel. Fortunately something magical happens about a half hour into the film. All of the expository junk that began to clog our brains and all of the standard odd couple charm that seemed to be wearing thin between Tommy Lee Jones and Will Smith was wiped away as if by a neuraliyzer and we were rendered completely charmed once again by the world in which the Men in Black exist. This is mainly due to the wonderful performance of Josh Brolin and his fine portrayal of a young Jones that re-infuses the odd couple relationship with the same engaging chemistry that made the first one such a stand-out.

Agent K (Tommy Lee Jones) and Agent J (Will Smith)
prepare to neuralyze a confused crowd.

While a big part of the problem with movie number two was that of the story, the same cannot be said for Men In Black 3. The second entry in this series was seemingly a rehash of the first with less interesting characters. The bad guy that was Vincent D'Onofrio's Edgar is a classic in my mind and while I can only remember the baddie from the second one because Smith featured her name in his song for the sequel "Black Suits Comin", (is anyone else mad he passed the task to Pitbull for this one rather than do it himself?) it's Serleena by the way. I was fearing the worst (again) when I saw the first stills of Jemaine Clement as the villain Boris the Animal. He looked rather cheesy and seemed all but standard. Expetations weren't raised after his opening scene where he enjoys the luxury of a big special effects sequence designed to provoke a nice use of 3D. In the end, he ends up not playing as crucial a part in the piece of the story that the film documents and instead provides a funny and self aware, ridiculous baddie in the vein of Edgar. After escaping from his prison on the moon Boris makes his way to earth and travels back in time to kill K (Jones) before he can again shoot off his arm, throw him in prison, and stop Boris' entire race from invading the earth. Agent J (Smith) is still trying to crack the present day K's shell after their 14-year partnership. Smith is in fine, smooth form here after taking a 4-year break from movies and is seemingly able to pick up right where he left off. When Boris goes back in time and the effects start to show in present time J experiences a world where K died 40 years before. Thus, he has to travel back in time to save his partner and you can probably guess where things might go from here.

A young agent K (Josh Brolin) has some serious affection
for agent O (Alice Eve). 

This is actually where we run into the surprise of MIB3 because for as sci-fi standard as it seems to be there is real heart here, something the second installment was really lacking in. The film has some real moments of meaning whether they be in the form of J realizing what shapes someone as a person or the value of life and the circumstances that lead to everything that occurs in life as pointed out by extra terrestrial Griffin (Michael Stuhlbarg of A Serious Man). It should be noted that while Brolin gives a great performance and doesn't only imitate the vocal inflections of Jones. He is able to create a full fledged character and inhabits this man who we realize we have never really known or understood. Brolin lends the film a weight that it would not otherwise have and in doing so actually creates a chemistry that is more fun to watch than that of Smith and Jones. While this is obviously the draw of the film, and it does serve as the main highlight, what Stuhlbarg brings to the picture is even more of that credibility and poignancy. His ability, as an alien, is to see all possible scenarios in the immediate future. He is within every moment all the time. With his quick delivery and heartfelt tone he steals nearly every scene he is in. He plays Griffin with a Robin Williams kind of sensitivity and it makes all of this talk about philosophy and life on other planets and in other galaxies feel somewhat more earned. Not as jokey as we might expect, but in many ways, more profound. That may sound silly as this is essentially a crowd-pleasing summer movie, but for all the script problems this was rumored to have they seem to have conquered these nicely (although a love story between K and the new head of MIB, Agent O played by Emma Thompson in 2012 and Alice Eve in 1969, feels tacked on) and delivered a blockbuster worth thinking about.

Agents J and K are joined by Grifin (Michael Stuhlbarg) in
their quest to save the earth.

And so, it is with a sigh of relief that MIB3 turned out to be much better than expected and just as good as it should have been. While director Sonnenfeld and crew likely hope we have all forgotten about MIB2 the only real qualm I have with the latest movie is that it doesn't really compute with the story line of the first one. Usually, in a case like this, I would go back and watch the previous films before seeing the latest in theaters but that didn't end up being the case. I have seen the first one countless times and could probably quote every line and like I said before, I too would rather forget the first sequel even existed. I can accept most of what  goes on here but I distinctly remember Agent K longing to get back to a normal life in the first one because of the girl that got away. I know that he goes back to her and is then somehow brought back into the agency in part two, but that storyline was a distant memory here. It still stands the test of logic I guess as it clearly states K met O after he was part of the agency, but still, I like my continuity. What does it really matter though when it has been fifteen years since the original Men In Black came out? Most movie goers won't remember or won't care enough that not every single aspect lines up or makes sense. What does matter though is that the current experience they receive is well worth their time and their investment in these characters does pay off. As a die hard MIB fan I didn't necessarily love the film as I did the first, but it was very good when I had no doubt that it might be very bad.

  

MEN IN BLACK 3 Review

I am a huge fan of the first Men In Black film. Like, I would rank it up there in my top 10 favorites of all time. This, as you might suspect led me to really dislike the sorry excuse for a sequel that was released, count em, 10 years ago. In their absence from the cineplex alot of things have changed, but this might be why the third installation in the series feels so refreshing. Refreshing in the sense that it is reminiscent of the original film while throwing in a nice twist for good measure. There is nothing unconventional about this latest and some would say unnecessary sequel, but it lives up to every standard that was being held for it. All of the original stars are back here plus one and director Barry Sonnenfeld has of course returned as this is really his only bread and butter as a filmmaker. While I and everyone had good reason to be cautious before walking into the film and even still as the opening scene played. It began to come back to me, the excitement to see these characters go on another adventure was plagued by the blandness of the script and non existent enthusiasm of the cast. There was no spice to the routine, it was standard and I began to fear the worst: a repeat of the sequel. Fortunately something magical happens about a half hour into the film. All of the expository junk that began to clog our brains and all of the standard odd couple charm that seemed to be wearing thin between Tommy Lee Jones and Will Smith was wiped away as if by a neuraliyzer and we were rendered completely charmed once again by the world in which the Men in Black exist. This is mainly due to the wonderful performance of Josh Brolin and his fine portrayal of a young Jones that re-infuses the odd couple relationship with the same engaging chemistry that made the first one such a stand-out.