Men in Black: International
Released this past summer, Men in Black: International (MiB:I, going forward) is the fourth film in the MiB franchise, but actually serves more as a reboot/spinoff as opposed to an actual film in the series. The movie was released on digital in 4K HDR with a Dolby Atmos soundtrack from Kaleidescape on August 20, well ahead of its disc release on September 3.
Instead of Will Smith and Tommy Lee Jones reprising their roles from the original trilogy, MiB:I offers essentially an entirely new cast in the form of Chris Hemsworth (Agent H), Tessa Thompson (Agent M), and Liam Neeson (Agent High T). The only real continuity in actors is Emma Thompson reprising her role of Agent O from MiB: 3 and Tim Blaney returning to voice Frank the Pug in one brief scene. (There is a “blink and miss it” painting shown in a boardroom that appears to feature Smith and Jones in battle, the only actual nod to their characters.)
Now, this is not to say that spinoffs can’t be successful and work on their own. 20th Century Fox did a great job with Wolverine’s character from the X-Men series, the new Creed films have done a fantastic job of lighting new fire and continuing the Rocky saga, and Disney/Lucasfilm will be giving us new tales from the Star Wars universe long into the foreseeable future. But one of the things that makes a spinoff work is when the new film offers a solid connection to the rest of the series, and this is where MiB:I fails. And, unfortunately, it just isn’t a strong enough film to be able to stand on its own.
Still present are the memory-wiping neuralyzers, the ubiquitous black suits and ties, Rayban sunglasses, and Hamilton Ventura watches, advanced alien weaponry, modified vehicles, and a plethora of various alien creatures wandering around intent on reeking planetary havoc. But what seems to be missing is the actual fun found in the first films, with many scenes feeling like retreads.
Largely this is because the first three films gave us great chemistry and humor by juxtaposing the young and brash Smith against the old and grumpy Jones, while here the relationship between Hemsworth and Tessa Thompson just doesn’t work on the same level. While the interaction and repartee between these two is the highpoint of the film—which is actually the fourth time these actors have shared screen time (previously in Thor: Ragnorak and both Avengers: Infinity War and Endgame)—they just aren’t given enough to work with to carry it solely on their own. Even Hemsworth, who has shown great comic ability in his role as Thor, feels a bit forced here.
According to Wikipedia, the film had a “troubled production,” with clashes between the director and producer, resulting in multiple rewrites and edits, and it comes across a bit meandering and uninspired, and frankly left me feeling a bit like I’d been neuralyzed afterwards, unable to really recall any of specific points the following day.
What isn’t missing is a quality audio and video production, something for which Sony has come to be known for in its home releases. While filmed in a combination of ARRIRAW 3.4 and 6.5K, this is taken from a 2K Digital Intermediate, not uncommon for heavily effects-laden films. Even still, the video quality is terrific throughout, with tons of detail. Images are
always sharp and clear, both in closeups and wide shots. Blacks—of which there are a lot—are always deep, clean, and noise-free. Images like black ties against black jackets with black pocket squares are clearly visible.
HDR is also used to good effect throughout, pumping the bright lights, while keeping the dark night sky and the agents’ uniforms in deep black. The opening shot of the Eiffel Tower is a great example, with the Tower brightly illuminated against the black Paris night. The MiB offices are also brightly lit in white, with many colorful screens, and the HDR presentation really makes them pop. The Alien Twins, who bristle with energy, also benefit from HDR’s added brightness and color space, especially during their first fight with H and M.
Equally impressive is the Dolby Atmos soundmix, which is incredibly dynamic and immersive. The sound designers take every opportunity to expand the audio around the room and overhead, and this is a film that offers the kind of wow-factor home theater owners crave. There is also a ton of bass energy when appropriate, with explosions generating loads of ultra-low frequency that you’ll feel in your chest. Dialogue is also well recorded, clean, and clearly understandable even at reference-volume playback.
And while the big action scenes definitely benefit from the expanded and aggressive audio mix, quieter scenes also have a lot of ambient effects to capture the onscreen atmosphere. There were several instances where I turned around to investigate a sound behind me, thinking it was our cat or my daughter, when it was some audio effect.
With a Rotten Tomatoes rating of just 22%, MiB:I likely isn’t going to be the best film you see this year, though my 12-year-old really enjoyed it. However, what it lacks in story, it more than makes up for in effects and bombast, and looks and sounds fantastic while doing it.
Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as Residential Systems and Sound & Vision. Follow him on Twitter at
@SciaccaTweets and at johnsciacca.com.