Men in Black: International

Men in Black: International, director F. Gary Gray’s take on the historically irreverent series, feels too sleek and squeaky clean for its own good.

The story centers on Molly (Tessa Thompson, Annihilation), who as a child saw her parents have their memories wiped following an accidental alien encounter, thereby introducing her to the titular agency and the intrigue of a completely covert alternate universe.

This initial premise feels rich enough to propel Molly’s story forward, bestowing her with curiosity and vigilance about the unknown world around her. We then cut to her as an adult, smart but a little nutty in her steadfast quest for the truth. This drives her to find the Men in Black headquarters, establishing her as the first person to actively seek out the organization and, after a brief parlay with Agent O (Emma Thompson), she’s granted probationary access to the MiB universe. This prospect should be exciting as we watch her transform from Molly to Agent M and realize her lifelong dream. Instead, we’re given an annoyingly brief, mostly boring montage of her training and resumé during her first day on the job.

Men in Black (1997) took care to introduce viewers to this overwhelmingly foreign world with Agent J (Will Smith) and his engaging mix of outsider trepidation and sharp-tongued curiosity. Its creatures, lifestyle, weaponry and the erasing of one’s entire identity are all serious business, yet the film found a way to remain lighthearted. This fantastical world mixed with real life consequences is glossed over in MiB: International in an effort to move the story forward, but the omissions ultimately prevent viewers from truly identifying with Molly and her life-altering entry into the universe she’s supposedly coveted for so long.

Little improves with the introduction of Chris Hemsworth’s Agent H, a polished extension of the actor’s playful, roguish and arrogant Thor persona. H has seemingly failed to rise through the MiB ranks, a notion that M could have exploited for steady wisecracks. Instead, there are one or two mediocre jabs at his inept bravado, and then we move on — an unfortunately pervasive theme of the film.

MiB: International isn’t supposed to be a reboot, but with its premise of a budding new recruit matched with a more experienced agent as they attempt to save the world, the dynamic feels all too familiar. Men in Black already featured this pairing, executed in the most oddball, deadpan and bizarre way possible by Smith and Tommy Lee Jones.

Their chemistry was off-putting and undeniable in a way that MiB: International fails to execute — a total shame considering Thompson and Hemsworth’s palpable give-and-take in Thor: Ragnarok. Their witty banter, rooted in a fiery mix of disdain and affection bubbling just beneath the surface, is sadly absent in their follow-up reunion. It’s as if the absurdly attractive duo hadn’t thought to look at each other until the end of the film, despite their characters having the same insane, isolating job — an eye-roll-worthy premise if I’ve ever seen one.

Hampered by obvious and largely half-baked jokes, the film finds one glimmer of hope in Pawny, a teeny green alien voiced by Kumail Nanjiani (The Big Sick). Plagued with trauma from a recent slaughtering of his people and in need of a new queen to serve, he vows allegiance to M, and in doing so pledges a certain type of nonallegiance to H. His immunity to H’s charm provides some of the funniest, liveliest moments of the film, but his inconsequential storyline isn’t enough to carry the movie overall.

The series shines best when it’s rooted in the familiar and plays with the unfamiliar, namely in its blending of real life settings with extraordinary circumstances. That’s where the humor and relatability come from. The notion that we might have aliens living among us and have no idea is thrilling to audiences, yet is all but lost on viewers in the newest installment.

MiB: International neglects this crucial aspect with its cursory globetrotting in London, New York, Marrakesh, Paris and Italy. Audiences never really feel grounded in one setting and, as such, aren’t able to fully identify with its characters. I found myself asking, “Should I care about Liam Neeson’s High T? (Oh, he’s English! Tea! How hilarious!) What about Emma Thompson’s stark Agent O? I’d like to see more of her. And what is it with these two murderous shape-shifting alien twins (played by French dancers/choreographers Laurent and Larry Bourgeois)? Are these futuristic villains or models for Kanye West’s hobo-chic Yeezy fashions?”

There’s a sort of wanderlusting whiplash cast onto audiences that continuously undermines the humanity of the film. We’re never able to sufficiently relate to any character or cause since we never stay in any place long enough to care.

In this way, MiB: International feels mostly hollow and wholly sanitized. The first three films were gritty, grimy and surprisingly violent. This attempt feels far too stylish and artificial, lacking depth and that satirical MiB bite audiences are used to. We aren’t even invited to play in the typical gross-out comedy of the aliens because there really isn’t any.

It’s not that MiB: International isn’t entertaining in spots — it’s enjoyable enough not to walk out of the theater and certainly has the potential to be something really fun, perhaps even a big summer blockbuster. Instead, it winds up being something you’d rather see on a $5 Tuesday to beat the summer heat. Not a bad option, per se, just not your first choice at the box office.

The spectacularly underwhelming feeling of the fourth installment had me craving the first film but also questioning my fond memories of it. Was this series ever really that good, or did my elementary-school-kid brain romanticize it?

Within minutes of revisiting the 1997 film, however, I was assured that the original MiB is a bona fide classic. From Smith’s adorably rebellious quips to Jones’ deadly irreverent delivery and all the alien comic relief in between, it’s truly something special. The charm that made the trilogy feel unique and worth watching — excluding the wild failure that was the second film — was seemingly missing in its fourth iteration. As such, MiB: International hardly makes a case for itself to be seen, unless you’re like me and want an excuse to see Tessa Thompson and Chris Hemsworth be aesthetically pleasing and mildly engaging on screen.