Men in Black: International (M, 115 minutes) Directed by: F.Gary Gray ★★ ½
1997 is Men in Black was a lesson on how to make adaptations to comics and science fiction.
The film had days-long jokes, a strict and linear structure that moved seamlessly and quickly to a surprisingly moving resolution – and an absolutely murderous pairing with Will Smith and Tommy Lee Jones, generating a chemistry from a friend-policeman that no one could foresee from the previous two men's work. Especially Jones was a revelation, in a rough and lowered way with a banner that made him the perfect foil for Smith's narcissism.
A few years later, fancifully titled Men in black II I tried and mostly failed to capture the same comedic flash, subdued to a lesser hermetic scenario and a general blow of money in stinging the joint.
So I waltzed in 2012 Men in black 3 expecting not much, except for another, the money of a studio, desperate for a hit, only to find that this is probably the best wrist film, with a really clever plot, a bunch of fictional scenes, and in Jamie Clement, a villain really worthwhile remembers.
And now, seven years later MIB 3 and 22 years since the start of the series, Men in Black: International arrives with new waters, a new director and a marketing budget, which he himself could pay for some pretty good films.
* Men in Black: An international trailer has been released
* Air NZ is allied with All Blacks for a new safety video
* Men in Black struggle with a deadly disease
* Review: men in black 3
For this installment, Chris Hemsworth and Tessa Thompson (both of whom are in Thor: Ragnarok and Wonder: End of the game are the secret agents that protect us from an alien invasion. The story resembles the first film, and Thompson plays the harsh recit to Hemsworth's troubled veteran. Their control is Liam Neeson and Emma Thompson, as heads of the MIB offices in London and New York. If they had replaced the roles, and Thompson had received the lion's share of the screen over Neeson, the film would be immeasurably improved.
The potentially entertaining learning curve of Tessa Thompson is barely outlined. While Hemsworth boasts, he smiles and bends at each shot, probably because he is professional enough to know that laughter does not exist in the script, so he just has to fight them. from air. Hemsworth is so damn good at this shit that he often succeeds.
Actually, here's a story that could explain this movie better than anything I can do. Already in 1995 Bari Sonenfeld, who later directed the first, second and third MIB– It's called a movie Get ShortyEven today, Get Shorty is a great comedic thriller and one of Elmore Leonard's best adaptations ever shot. Get Shorty there was a delayed continuation called Relax, which did not have the time, energy or tempo of the first film. He fell into the counter.
And, in a great coincidence, the director of the Relax was F. Gary Gray, who is now directed Men in Black: International,
Maybe we all read too much in coincidences, but it's too good to ignore.
Finally what MIB: International remind me of the most important thing Fantastic beasts a franchise that has separated from Harry Potter series and now threatens a movie every two years, while the sun and stars fall from the sky from pure boredom. as Fantastic beasts, that MIB has all the money in the world with which to play and a way with a digital special effect that would be unimaginable only in the last century.
But for all his manger creatures and commission approved by the Diversity and Representation, he still does not tell us what obstacle is engaging or even particularly consistent.
What seemed to me to be an obvious scene from the beginning of the film arrives about 15 minutes, while the late interlude between Hemsworth and a former lover should never have passed the screenwriters.
Then Thor: RagnarokSurely someone should have had the idea to suggest this photo – with two of them Ragnarok voices – for Tayka Wytity to direct. I think the dagger would find ngakaou and crap that film is missing.
Men in Black: International is a collection of scenes, some entertaining, some necessary, but most of all, one in search of a real reason to exist. The sequel is probably inevitable.