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I retrieve information technology's important to frame Men in Black 3 in the correct context before we start talking nigh information technology. This is a sequel that nobody really asked for or necessarily wanted. It's coming ten years later its most recent predecessor, the exceedingly lousy Men in Blackness 2. Volition Smith doesn't expect like he's aged a solar day, merely he'southward no longer the comedic loudmouth that made his Agent J so memorable in the first picture show. Tommy Lee Jones continues to be former, and the little nosotros see of him in Men in Blackness 3 suggests that he's rather tired as well. Josh Brolin is a new face, sort of, delivering a perfect one-note interpretation of Jones' i-dimensional Agent K. Really, the moving-picture show equally a whole feels tired. It'due south got a bright spot hither and at that place, but I couldn't escape the feeling while I watched the movie that it was as confused about its beingness as the audience was.

Of grade, confusion comes with the territory someday y'all mix time travel into your plot. Information technology all starts when Jemaine Cloudless'south Boris the Fauna, the flick's creepy bright spot, escapes from his maximum security prison prison cell on the moon. Boris has a forty twelvemonth old grudge confronting Agent G, who captured the infinite criminal in 1969 on the same mean solar day that he protected the Earth from an conflicting invasion and wiped out Boris' galaxy-threatening Boglodite species in the process. The escaped criminal is now the last of his kind, simply he's hatched a plan that involves going back in time and rubbing out a younger K, played by Brolin, before that fateful day in 1969. All goes according to plan at first, until Smith'southward Agent J catches upward to what'south going on and follows Boris into the summertime of '69.

At base, Men in Black 3 follows the basic formula laid out by its two predecessors. Threatening alien presence makes itself known, MIB agents pursue until the good guys win. The twist, of class, is that Agent J offset faces the challenge of convincing his partner's younger self that he's on the upwardly-and-upward. It'due south a practiced thing for that too. The not-so-fresh feeling we go from watching Will Smith try — and fail — to channel a graphic symbol that he probably hasn't thought much about in the past 10 years is kickoff by Brolin's perfect Tommy Lee Jones-as-Agent K impression. The phonation, the mannerisms, the commitment– information technology really is uncanny how easily Brolin slips into the persona of the older actor.

There'due south also Michael Stuhlbarg, star of A Serious Man, whose 5th dimensional conflicting ups the time travel headache factor in a big way with his quiet consideration of all possible futures. He appears roughly halfway through the movie, at a party hosted past Andy Warhol — an undercover MIB agent, naturally — and he sticks around for the residual of the adventure. It's a good matter for that; annihilation to help us forget that Smith is supposed to be the lead hither. Clement helps likewise with his aplenty screen time equally both the 2012 and 1969 versions of Boris. He delivers an exceedingly creepy performance, helped in no small office by a heavily modified alien voice and killer costume work from the legendary Rick Baker.

In fact, betwixt Brolin and Stuhlbarg, plus Clement, it's also bad that Men in Blackness three couldn't have done away with Smith and Jones and simply framed itself equally a proper prequel, without whatsoever of the time travel trappings. The 1969 envisioned by director Barry Sonnenfeld and screenwriter Etan Cohen doesn't experience as period-centric equally, say, whatsoever of the Austin Powers movies. At that place are some nice flourishes though, and the suggestion that this could take been a more well-realized trip back in time if we didn't have to spend then much time worrying about the modern-day side of the story.

Instead, we're stuck with a story that rumbles its way through primal plot points, eventually leading upwards to a climax and twist-focused denouement that is undeniably clever yet entirely unearned. I recall there's equal blame to go effectually for this, to Smith for feeling like the old and tired one-half of a duo in which he's supposed to be the young, erratic one; to Cohen for not writing enough into the script to bolster the big moments; and to Sonnenfeld for trying to recapture something that no one really missed in the first identify.

Given all of that, I'd say that Men in Black 3 isn't a terrible film but information technology's not a good one either. Information technology only exists for the purpose of putting butts into cinema seats. In that location's an obligatory 3D version that feels, like well-nigh 3D-optional movies, entirely unnecessary. No matter what yous spend on your motion-picture show ticket, sitting through the whole thing is akin to spending two hours having your encephalon wiped by the series' Neuralyzer, which most fans probably know as the memory-erasing "flashy affair." You can occasionally catch a glimpse of how this could have been a great movie, merely instead we're left with a mediocre one that never quite coalesces around its meliorate ideas.