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I remember it's important to frame Men in Black 3 in the correct context before we get-go talking near it. This is a sequel that nobody really asked for or necessarily wanted. It'southward coming x years after its most recent predecessor, the exceedingly lousy Men in Black 2. Will Smith doesn't look like he's anile a twenty-four hours, merely he'southward no longer the comedic loudmouth that fabricated his Agent J and so memorable in the first movie. Tommy Lee Jones continues to be old, and the niggling we see of him in Men in Black iii suggests that he's rather tired besides. Josh Brolin is a new face up, sort of, delivering a perfect one-notation interpretation of Jones' one-dimensional Amanuensis Thou. Really, the flick as a whole feels tired. It'due south got a bright spot hither and at that place, just I couldn't escape the feeling while I watched the movie that it was as confused about its existence as the audience was.

Of course, defoliation comes with the territory anytime you mix time travel into your plot. Information technology all starts when Jemaine Cloudless's Boris the Animal, the picture's creepy bright spot, escapes from his maximum security prison cell on the moon. Boris has a forty year old grudge against Amanuensis Grand, who captured the space criminal in 1969 on the same day that he protected the World from an alien invasion and wiped out Boris' galaxy-threatening Boglodite species in the process. The escaped criminal is at present the concluding of his kind, but he's hatched a plan that involves going back in fourth dimension and rubbing out a younger Yard, played by Brolin, before that fateful solar day in 1969. All goes co-ordinate to plan at offset, until Smith's Agent J catches upwards to what's going on and follows Boris into the summer 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 course, is that Agent J first faces the challenge of convincing his partner's younger cocky that he's on the upwardly-and-up. Information technology'due south a good thing for that likewise. The not-so-fresh feeling we get from watching Volition Smith try — and fail — to aqueduct a character that he probably hasn't thought much about in the past 10 years is offset by Brolin's perfect Tommy Lee Jones-as-Agent K impression. The vocalism, the mannerisms, the delivery– it really is uncanny how easily Brolin slips into the persona of the older actor.

There's also Michael Stuhlbarg, star of A Serious Man, whose fifth dimensional alien ups the time travel headache factor in a big way with his serenity consideration of all possible futures. He appears roughly halfway through the movie, at a party hosted by Andy Warhol — an surreptitious MIB agent, naturally — and he sticks around for the rest of the gamble. It'southward a proficient thing for that; anything to help us forget that Smith is supposed to be the lead hither. Clement helps as well with his ample screen fourth dimension as both the 2012 and 1969 versions of Boris. He delivers an exceedingly creepy performance, helped in no pocket-size part past a heavily modified alien voice and killer costume piece of work from the legendary Rick Baker.

In fact, between Brolin and Stuhlbarg, plus Clement, it'southward as well bad that Men in Blackness 3 couldn't have washed away with Smith and Jones and simply framed itself as a proper prequel, without any of the time travel trappings. The 1969 envisioned by manager Barry Sonnenfeld and screenwriter Etan Cohen doesn't feel as period-centric as, say, any of the Austin Powers movies. There are some nice flourishes though, and the suggestion that this could have been a more well-realized trip back in time if nosotros didn't have to spend then much time worrying most the mod-24-hour interval side of the story.

Instead, nosotros're stuck with a story that rumbles its way through key plot points, somewhen leading up to a climax and twist-focused denouement that is undeniably clever withal entirely unearned. I think there'south equal arraign to go around for this, to Smith for feeling like the onetime and tired half of a duo in which he's supposed to be the young, erratic 1; to Cohen for not writing plenty into the script to bolster the big moments; and to Sonnenfeld for trying to recapture something that no one actually missed in the first place.

Given all of that, I'd say that Men in Black 3 isn't a terrible movie simply it's not a good one either. It but exists for the purpose of putting butts into flick theater seats. There'due south an obligatory 3D version that feels, similar nigh 3D-optional movies, entirely unnecessary. No matter what you spend on your movie ticket, sitting through the whole thing is akin to spending 2 hours having your encephalon wiped by the serial' Neuralyzer, which virtually fans probably know every bit the retentivity-erasing "flashy thing." You can occasionally catch a glimpse of how this could accept been a bully movie, but instead we're left with a mediocre one that never quite coalesces around its better ideas.