As far as sequels go to giant box-office hits from five years ago,
"Men in Black II" is an example of pure laziness on the part of returning
director Barry Sonnenfeld (2002's "Big Trouble") and new screenwriters
Robert Gordon and Barry Fanaro. Money was clearly the selling factor
for Sonnenfeld's agreement to helm the follow-up, for he never quite
figures out how to make much more than a loose remake of his 1997
predecessor. At the same time, the original "Men in Black" was already
an underwhelming, mediocre experience, and "Men in Black II" offers
a faster pace, a faster running time (81 minutes without credits),
and a stand-in for the absent Linda Fiorentino in the form of the
radiant Rosario Dawson (2001's "Josie and the Pussycats"). Dawson
is not playing the same person as Fiorentino, but the general story
and character outlines are so alarmingly similar between the two pictures
that they might as well be.
Just so audiences viewing the film in the movie theater are assured
what they are watching is taking place in the present day, a title
card at the opening reads, "July 2002." Nevermind that this decision
will cause the picture to be out of date in less than a month. It
is then that a tentacled alien form named Serleena comes to Earth
and takes the form of a Victoria's Secret model. Serleena (Lara Flynn
Boyle) has only one mission: find the "Light of Zartha," whose power
may mean the end of civilization. Hot on the case is MiB Agent Jay
(Will Smith), assigned to find the Light before Serleena does and
destroy her. The only problem is that the only person who knows where
the light is hidden is old MiB Agent Kay (Tommy Lee Jones), long since
neuralized of his past memories and now living quietly as a postal
worker. After convincing Kay to come back with him, Jay successfully
de-neuralizes him and, together, they reunite as partners on the case.
Following an indelible, creepily funny introduction to villain Serleena
and an early subway chase between the inhabitants of the train and
a very hungry worm-like creature, "Men in Black II" falls back into
the patterns of the original. Obviously, little thought was put into
developing an original new screen story. Director Sonnenfeld is content
merely rehashing the first movie, giving the proceedings a "been-there-done-that"
feel. The mercifully brief running time is either a result of thin
material or an attempt to be over before viewers start questioning
how very generic what they watching is.
Will Smith (2001's "Ali") and Tommy Lee Jones (1999's "Double Jeopardy")
step with ease back into the shoes of the wisecracking Agent Jay and
the deadpan Agent Kay. Smith and Jones' smooth, likable camaraderie
remains intact, and their chemistry helps to carry us through the
film without much pain. Once her saucy introduction concludes, alien
villainess Serleena turns out to be a major disappointment. Aside
from standing around spouting off threatening lines and poking people
with her tentacled fingers and tongue, Serleena does not develop into
neither a memorable nor menacing presence. The performance by Lara
Flynn Boyle (1998's "Happiness") is uninspired, at best.
Better is the aforementioned Rosario Dawson, as beautiful pizza clerk
Rita, who gets involved in Jay and Kay when she witnesses her manager
get skinned by Serleena. Even though the talented Dawson is not offered
much to work with, and her budding romance with Jay plays like an
afterthought, she still brightens up her scenes considerably. Less
successful is Johnny Knoxville (2002's "Deuces Wild"), criminally
wasted as Serleena's two-headed henchman, Charlie. Knoxville cryptically
disappears midway through, never to be seen or heard from again.
The rushed 10-minute climax is a hodge-podge of drearily executed
chase sequences and stunningly lame plot twists. The final confrontation
with Serleena is so throwaway as to be nearly nonexistent. "Men in
Black II" isn't a successful sequel, but it also could hardly be accused
of being boring. Slight, mindless, and enjoyable on a superficial
level, the film, ultimately, hits the target of what one would expect
coming after a first movie that wasn't good to begin with.
Copyright © 2002 Dustin Putman