REVIEW: Men in Dreck 3

Poor Barry Sonnenfeld. In another life, he was a respected cinematographer, who shot the Coen Brothers’ Blood Simple and Raising Arizona, in addition to Misery. He was versatile and quirky. Then he became a director, and that sense of humor became compromised by Hollywood middle-brow aesthetics. The two Addams Family movies had moments, and Get Shorty was actually good, but mostly he’s stuck adding a shiny inconsequentiality to bad action comedies. (His last film as a director, RV in 2006 was a serious flop; he has directed some good TV shows though, notably the short-lived Pushing Daisies.)

I’m sure he cries all the way to the bank, though, as he has directed all of the Men in Black films, including 3, which comes out Friday. These are hugely popular, although frankly, I’ve always been at a loss for why. They are action-comedies that have predictable action and aren’t very funny; special effects spectaculars that undercut their special effects with dumb humor. They have stretched them out over 15 years, so at least we only get bored once in a while, not on a semi-annual basis.

Men in Black 3 is clearly the best in the series, though that is akin to saying the third bout of cholera was the mildest. What started out as a vehicle for Tommy Lee Jones (he got top billing in the first one, remember?) has now marginalized him to the extent he disappears after 25 minutes, not to return again until the last scene. (It’s just as well: He’s begun to look like a saddle with eyebrows.)

—  Arnold Wayne Jones