Maybe that has had some negative impact on the industry and that you’ve limited the creative freedom to worrisome levels, but if there is something that we have to thank the superhero cinema, and more specifically to Taika Waititi.
That is the discovery of the innate comic vis Chris Hemsworth and chemistry to bomb-proof shared with Tessa Thompson; elements rather than shown on the recoverable Thor Ragnarok.
After such a display, it is not surprising that the Director F. Gary Gray has chosen to underpin the reboot of ‘ Men in Black’, which comes twenty-two years after his estimable debut on the big screen at the hands of Barry Sonnenfeld, on a pair of interpreters that In addition to providing a new face and eyes to the franchise, manage to bring charisma and certain freshness; Although not enough.
Because, despite the slight and appreciable change of image, ‘ Men in Black: International’ is far from lift as the restart that return to the saga in the limelight; being reduced to the status of entertaining stone in a way that, hopefully, will lead her to find that identity and style needed to Excel in these times dominated by productions for everyone cut in the same pattern.
I have been unable to not convert the viewing of ‘ Men in Black: International’ in one of those experiences that is shadowed by a constant thought in what might have been and was not; and the main reason for this lies solely in his tone. It is more than understandable that a feature film of its kind bet by a score by age for over 13 years in order to multiply their potential revenue at the box office, but gives the impression that the film is constantly treading a a brake that prevents him from taking off.
This is evident in his treatment of the comedy, which oscillates constantly between the whiteness of Amblin productions and some trimmings towards a more adult humour which, although contained, not to dispel the idea that an approach to the adventures of the men of Black more twinned with films such as ‘Infiltrators in class’ that the work of Steven Spielberg – executive producer of this ‘International’ – had done to transcend that, finally, is over being a continuist facelift.
This false novelty feeling is accentuated by a booklet signed by four hands by Matt Holloway and Art Marcum that is correct in extending the range of the MiB beyond U.S. borders, but throw that fails miserably to develop a plot excessively standard issue, not free of clichés and recycling, and annoyingly predictable, but that manages to entertain a wide spectrum of public, without too many efforts – or fanfare.
If this is possible, is thanks to the address of an F. Gary Gray that acts as a sort of contact adhesive that joins the piecemeal parts making up ‘ Men in Black: International’, demonstrating that worth to offer a spectacle more than worth it demo STRO in ‘Fast & Furious 8’, and signing a few set-pieces moderately spectacular and colorful that comply, without more, the requirements of a production of about 110 million dollars.
As he anticipated, the two big cherry on this cake have names and surnames: Chris Hemsworth and Tessa Thompson. The couple not only load the weight of ‘ Men in Black: International’ on his shoulders, pulling it out from the land of mediocrity and offering a generational – release to the original look composed by Will Smith and Tommy Lee Jones. In addition to this, they rise as the unique and great excuse to continue forward with a possible pentalogy which, with a bit of fortune, will the men in black film personality loss between the gears of industry.
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