‘Men in Black 3’

The Commercial Appeal - Go Memphis - - Go See -

boundaries of Smith’s mir­ror wants to see, the movie works to add dra­matic “depth” to the one-sided re­la­tion­ship be­tween J and K. At times, Agent J threat­ens to be­come a bet­ter- dressed Bag­ger Vance: a “Magic Ne­gro” sent to help young K find him­self. For­tu­nately, Agent K is too re­cal­ci­trant to be reformed; un­for­tu­nately, the ac­tual “ironic” end­ing is un­per­sua­sive, im­pos­ing un­nec­es­sary sen­ti­ment and pre­ten­sion on what ought to be a proudly es­capist prod­uct. The ar­rival of an African-amer­i­can of­fi­cer dur­ing this cli­mac­tic se­quence is a bit of a tip- off to the na­ture of the end­ing; it’s also an in­dict­ment of the pan­der­ing and con­trived na­ture of “di­ver­sity” in most Hol­ly­wood prod­uct: Even in “Men in Black,” a black man is a nov­elty. — John Bei­fuss: (901) 529-2394 Ch­er­nobyl Diaries (R, 86 min.) Young and at­trac­tive but ap­par­ently not very in­tel­li­gent tourists dis­cover they’re not alone when they visit a sup­pos­edly aban­doned city near the site of the in­fa­mous 1986 nu­clear ac­ci­dent.

Newspapers in English

Newspapers from USA

© PressReader. All rights reserved.