It’s all acceptably diverting, and not actively unpleasant like the 2002 sequel. There are no grand twists or revelations comparable to the truth about the “galaxy” in the original. What the film could most use, I think, is a wide-eyed uninitiate like Linda Fiorentino in the original or Rosario Dawson in the sequel — but one from 1969, which would offer a fresh twist on the outsider’s experience of the MIB’s nutty world.
Even Pixar has never attempted anything on a canvas of this scale. From Monsters, Inc.’s corporate culture to Finding Nemo’s submarine suburbia, previous Pixar films have never strayed too far from the rhythms of real life. … WALL‑E creates a world that, despite clear connections to contemporary culture, looks and feels nothing like life as we know it, with unprecedented dramatic and philosophical scope.
Brilliantly constructed and virtually universal in its appeal, Robert Zemeckis’s Back to the Future blends equal parts hilarity, nostalgia, science fiction, screwball comedy, and white-knuckle suspense in a complex storyline wound tighter than a yo-yo in a centrifuge.
[T]he new Hitchhiker’s Guide has the whimsical look and absurdist feel of Adams’s universe, which remains best known in its novelized form but which originated as a radio series and was later realized as a BBC television series, a set of records, a computer game, and even stage adaptations. What it’s missing is the subversive commentary, the razor-edged deconstruction of human foibles. We get Adams the absurdist, but not Adams the provocateur.
Based on the whimsical comic book series of the same name, Men in Black looks superficially like another Independence Day-style big-budget summer special-effects extravaganza with a catchy three-letter acronym. Yet MIB is smarter, leaner, funnier, and more human than most entries in the genre, relying less on spectacle than on the chemistry of the two leads and the wit of the script for its appeal.
Beyond more action and bigger effects, the sequel brings nothing new to the table. You’ll wait in vain for satirical "revelations" about the presence of aliens among us to match the wit of the jokes in the original about cab drivers or the World’s Fair. Instead, we get limp gags like the one about the Post Office being staffed by aliens. (Why? Is it a joke about postal efficiency? The "going postal" stereotype? The fact that they make rounds? What?)
Besides satirizing Star Trek’s fan base, Galaxy Quest also takes aim both at the absurdities of the show itself and also at the behind-the-scenes reality. Most of the obvious Trek conventions are targeted: the principle that any extraneous character on an away mission always dies; the shipwide crisis that requires crew members to crawl through endless ducts; the isolation of the captain on a hostile planet where he must do hand-to-hand combat with an alien monster.
Copyright © 2000– Steven D. Greydanus. All rights reserved.