Boris has gone back in time, but given that he hasn’t found or killed young K yet, old K ought to be alive, well and doing that “sort of surly Elvis” thing he does in contemporary Manhattan. Why don’t the fleet of screenwriters who cooked up this script? They have J wake up the morning after the bloodbath at the Chinese restaurant to a world already missing K. Wells, thanks to Back to the Future, Terminator and dozens of other films, just about everyone knows how it works. Even if your high school curriculum didn’t include any H.G. The average moviegoer is well educated in the particulars of time travel.

( MORE: TIME’s interview with Oscar-winning makeup artist and creature maker Rick Baker’s inspirations) J is needier than usual, while K is brooding an alien he locked up 40 years ago, Boris the Animal (Jemaine Clement from The Flight of the Conchords), has escaped from a lunar prison and is headed back in time, to July 1969, just before the first moon walk, to kill K. Even blasting aliens in tandem, K and J still aren’t connecting. In 3-D Rick Baker’s creations, while never intended to be taken seriously, seem goofy, old-fashioned and repellent in the wrong way-that is, you really don’t want to look at them. At a Chinese restaurant in Manhattan they manage to fight off a slew of aliens. sweet and sassy energy between them is absent, as if they filmed their scenes independently, acting opposite puppets in front of a blue screen.

If it was a person, you’d worry it had dementia.Īgents K (Tommy Lee Jones) and J (Will Smith) are back, but the reliable tart and taciturn vs. Its opening sequences are a near marvel of confusion, mayhem and embarrassments for its actors. Follow silly to feel sorry for a big studio movie, especially a second sequel bound to make buckets of money, but director Barry Sonnenfeld’s Men in Black 3, arriving 15 years after his original and 10 after Men in Black 2, is so creaky and out of touch it inspires pity.

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