Sign in using your account with
Men in Black 3: Light & Fun Sequel
Agents K (Jones and Brolin) and J (Smith) are back and kicking. Boris the Animal (Clement), a criminal whose arm K had shot off decades ago, has escaped from his lunar prison and is out for revenge. He jumps back in time, to the day that he lost his arm, to kill K before he has a chance to maim him and throw him in prison. J follows Boris back to ‘69 in an attempt to thwart his plan and save K.
J and K’s relationship (bromance?) is at the centre of the film but whereas the previous films starred Smith and Jones, due to this film’s time travelling aspect, Brolin takes Jones' place for the bulk of the film, playing the twenty-nine year old Agent K. Calling this brilliant casting is an understatement; Brolin has Jones’ mannerisms and inflections down to a tee while still coming across as a less jaded version of the stony faced Jones. He and Smith make as great a duo as Smith and Jones do and the trio’s performances give the film a bit of substance which it sorely lacks.
What it lacks in substance though, it makes up in sweetness, and while most of it comes from the agents’ friendship, a significant dose comes in the form of a character named Griffin (Stuhlbarg). He’s an alien, the last of his race, who has the ability to see every alternate future at any given time. Stuhlbarg nails this perfect blend of sweetness and awkwardness, making a great sidekick to the main duo.
Visually, the film is gorgeous. The 3D effects are used beautifully and not just in the action packed scenes. The regular scenes pop every bit as much as the alien-busting ones, and all without giving you a headache. The alien designs are completely goofy and thus thoroughly delightful and the set design, both modern day and during the 60s, is beautiful - especially when it comes to the Men in Black headquarters. The 60s setting is also used as a set up for the film’s best laugh out loud moments, the best of which involve Andy Warhol and The Factory.
The film is a light, fun, alien filled caper but the choice of target audience is slightly confusing. Since the last Men in Black film came out a decade ago, you'd think that the franchise would have pulled a Harry Potter and matured with its fans that are in their twenties by now. However, it stays true to its roots and targets the same audience that it did ten years ago: children. It's not immature per se, but it does lack a certain sophistication that would have put it in the same league as The Avengers for instance, another similarly light, colourful and fun blockbuster.
Having said that, it isn’t perfect nor will it be one of the best blockbusters this summer but it is a decent sequel and will definitely cull a new generation of fans. Besides, the visuals alone are pretty damn entertaining.
Since George A. Romero's 1968 Night of the Living Dead, flesh-eating Hollows – aka Zombies, Lurkers, Biters or the Undead – have become a part of a phenomenon that is still dominating the horror-scene today.
However, with the release of Nick Lyon's Rise of the Zombies, one can’t help but wonder: who in their right mind would allow for this TV movie travesty to be released in cinemas in Egypt?
Set in a run-down and abandoned San Francisco, Rise of the Zombie's opening scenes show a group of panic-stricken folks trying to escape from the hungry hands of the infected monsters. Their mission, unfortunately, soon fails and – thanks to a badly executed CGI car crash – everyone, apart from one young pregnant woman who manages to escape, is left behind as food.
The film then shifts focus to a different group of people who have taken refuge in the infamous Alcatraz Prison. The troop is led by the sturdy Dr. Lynn Snyder (Hemingway), fellow scientist Dr. Dan Helpern (Burton) and the barmy-looking Caspian (Trejo). While Dr. Helpern continues to do his research and find a cure to kill the 'virus' which has been spreading like wildfire, Dr. Snyder believes that it's the peculiar researcher, Dr. Arnold – who has been sending in video transmits from the mainland – has all the answers.
However, it's not long before the zombies – who have apparently learned how to swim over the years – infiltrate the prison, forcing its refugees to flee and search for another safe-house and quite possibly the cure for the fast-spreading 'infection'.
The producers and the distributors for this film – The Asylum – are known for their exclusively B-list, straight-to-DVD productions, and Rise of the Zombies is a complete mockery of a film from minute one. Apart from the plot being completely unoriginal, the characters – whose survival and well-being is imperative to drive the story – fail to register with the audience and the poorly scripted dialogue, and its flimsy delivery, only adds to the absurdity of it all, though the make-up isn’t entirely dreadful
Unfortunately, the cast – which includes a few recognisable faces – can’t rise above the shabby material. Hemingway, an actress who has been seen in a good share of mindless action flicks, has never been worse. Failing to add an ounce of personality to her character, she is almost robotic in her delivery, while badass Trejo looks embarrassed the entire way through.
Predictable, cheesy, and downright upsetting, Rise of the Zombies is definitely like no other zombie-fest you'll ever see – and that is not a compliment.
Star Trek Into Darkness marks the twelfth instalment in the Star Trek franchise – which dates all the way back to 1966 – and plays as the direct follow-up to the 2009's successful reboot, Star Trek.
The film launches into action with a thrilling opening sequence which finds Capt. James T. Kirk (Pine) in deep trouble. In an attempt to save Spock (Quinto) and the natives of Planet Nibiru from a catastrophic volcano eruption, Kirk puts the entire Starfleet in danger by revealing the U.S.S Enterprise's hideout and by interfering with Nibiru’s primitive civilisation – prime directives which should never be broken.
Even though his intentions were moral, Kirk knows that he's crossed the line. Facing demotion as an executive officer and with Spock reassigned to another ship, Kirk’s lofty ambitions look more and more unlikely. Soon, all is forgotten, however, when an act of terrorism shakes London. The man behind the attack – as the Starfleet soon learns – is John Harrison (Cumberbatch); an ex Starfleet agent gone rogue, who has now escaped to the Planet of Klingons.
With Kirk and Spock reassigned to the U.S.S Enterprise once again, the crew – which includes ship Helmsman Hikaru Sulu (Cho), Chief Medical Officer Leonard 'Bones' McCoy (Urban), Chief Engineer Montgomery 'Scotty' Scott (Pegg) and Communication Officer Nyota Uhura (Saldana) – are sent on a dangerous mission to capture and eliminate the terrorist.
However, their mission – as Captain Kirk and his team soon learn – is not at all what it seems and disturbing secrets soon bubble their way to the surface.
Director J.J. Abrams - along with the team of returning writers, Roberto Orci, Alex Krutzman and Damon Lindelof – continues to breathe life into the beloved science-fiction series and his newest addition makes the four year wait for a sequel worth it. It’s nothing short of an edge-of-the-seat extravaganza with plenty of excitement to keep everyone – including the non-Trekkies – amused. Aside from the expected action-packed scenes, the writers also manage to find time for more character-oriented threads, which allow the audience to connect just a little bit more to these iconic characters.
As far as the die-hard Trekkies are concerned, don't despair; there are plenty of nods to the past and trips down the memory line with references to former characters, locations and weird alien species.
Pine seems to be settling into the role of the infamous Captain Kirk pretty well; emotional and driven, Pine possesses the charisma to anchor such an epic. Meanwhile, the terribly talented Quinto is magnetic; his restrained and cold exterior provides plenty of laughs and, at the same time, plenty of stirring moments as we witness significant character growth. Pegg and Urban offer much of the comic-relief, while Saldana unfortunately fades into the background. Most significantly, however, Cumberbatch shows plenty of depth as what is slowly revealed to be a complex antagonist.
All in all, Star Trek Into Darkness offers guaranteesd entertainment. As an exhilarating and often moving addition to the franchise, JJ Abrams has proved that remakes, reboots and sequels can still be done well. Good job.