With seemingly no end in sight to the sequelization of Men In Black, the numerical procession of I, II, and III to date could end up overtaking and dwarfing that alphabetized undercover crew J, K, O, and so forth. Which may pose a dilemma to both audiences – the jaded ‘been there, done that’ spectators, and those befuddled new viewers embarking upon this hyperactive adventure somewhat in narrative midstream, and with no clear road map as reference.
Deja vu director Barry Sonnenfeld – in stark contrast to the MIB3 script stalled for a decade in development but commencing the shoot on location anyway – just about plunges the audience into the combo hi-tech surreal slapstick proceedings at the get go. As Flight of the Conchords’ Jemaine Clement, doing shape shifting homicidal brute Boris The Animal, maniacally gobbles up the scenery while embroiled in an elaborate plot involving a cake. As he flees a maximum security prison on the moon, and following a vengeful trail after those dark suited saviors of the endangered planet.
And on a course as well that appears to be getting distinct traction this summer movie season, following the similar time travel stopover of Dark Shadows in the sixties era, as Men In Black III does likewise. Though in reverse rewind, rather than an undead future as now disorientation.
It seems that Agent K (Tommy Lee Jones) has been snuffed by menacing time traveler Boris back in 1969 just a little while ago, or something like that. And Will Smith’s Agent J is desperate to get a chance at a do-over back in the past, and save Agent K’s life in the process. Which entails, in a bizarre bid, tossing himself in flashy 3-D off the top of the Chrysler building, and tracking down Agent K’s distinctly younger self (Josh Brolin) in order to watch his back and reverse history.
MIB3 is filled with spectacular visual moments that leap off the screen. But moments are all they inevitably are, with eye- popping imagery too stylized for its own good. And serving as glitzy cover for a contrasting minimalist, bare bones plot dispensing a half-baked intimated mystery office romance between tight-lipped duo Agents K and O (Emma Thompson), along with a blatantly inserted too little, too late sudsy Will Smith back story over at the first moon mission taking off from Cape Canaveral.