Men in Black II (2002)
★ / ★★★★
Several years after Agent Kay’s (Tommy Lee Jones) memory had been erased, Agent Jay (Will Smith) kept having trouble with finding the right partner for him on the field. This was particularly problematic because there was an alien that landed on Earth which took the form of a supermodel (Lara Flynn Boyle) with plans of obtaining ultimate power by finding the so-called Light. Directed by Barry Sonnenfeld, “Men in Black II” fell into a trap of delivering bigger and better special and visual effects but dumbing the material down considerably. While its predecessor was smart in terms of delivering references of other science fiction pictures and television shows, the sequel was unfunny and downright disappointing. Instead of further exploring the partnership between Agents Kay and Jay, the movie focused on the aliens such as the annoying talking dog and two-headed alien played by Johnny Knoxville. I didn’t care about how the aliens looked like; I cared about the material’s level of imagination. There were also too many distracting and unnecessary cameos from Michael Jackson and Nick Cannon. What’s the point of making a cameo if their appearances weren’t even funny? Establishing the heart of the picture should have been easy. Since the two agents have been apart for so long, I wanted to know how they’ve changed over the years. For instance, their positions, in comparison to the first film, had essentially been switched around. Since they now had the chance to walk in each other’s shoes, how have their opinions of each other changed? Or was there even any change? What made the first one so enjoyable was not solely because of the visuals. It was because of Jones and Smith’s brotherly chemistry with a bit of friction on the side. In this installment, they were barely given a chance to interact in a meaningful way. They were constantly running around like kids in the playground. They didn’t seem to slow down but we grow tired of watching them because everything was recycled. I did like watching Rosario Dawson as a witness to a murder in a pizzeria but the script did not do her justice. Furthermore, the romance between her and Smith’s character was desperate and unconvincing. Their interactions were almost as awkward as the extended silences in between scenes when audiences were signaled that something funny just happened and it was their cue to laugh. I didn’t laugh. I wasn’t amused. I was angry because the freshness that I knew it should have had was not translated onto the screen. Perhaps the filmmakers thought we had been “deneuralized” and wouldn’t notice the fact that we’ve seen everything they had on here before.