Correction: Danny Baldwin notes below that Men in Black 3 was actually shot on film, not with 3D cameras, but it was still designed with a 3D conversion in mind.
I don’t plan on writing a full review of Men in Black 3, the painfully dull sequel to the Will Smith franchise. The film is rarely inventive and quite laborious, and even the quite awesome Josh Brolin is only so fun as a young Tommy Lee Jones (who seems to have only shown up for a paycheck). The film’s saving grace is actually Michael Stuhlbarg as a being who can see across alternate timelines (useful for watching Mets games, it turns out).
I don’t plan on writing a full review of Men in Black 3, the painfully dull sequel to the Will Smith franchise. The film is rarely inventive and quite laborious, and even the quite awesome Josh Brolin is only so fun as a young Tommy Lee Jones (who seems to have only shown up for a paycheck). The film’s saving grace is actually Michael Stuhlbarg as a being who can see across alternate timelines (useful for watching Mets games, it turns out).
But besides
the lazy script, there was something extremely alarming about Men in Black 3: the flat compositions.
Being a hater of 3D in almost every possible situation (sans Pina), I ended up seeing the film in 2D
(and in 35mm no less!). This is not the first time I’ve seen a 3D film in my preferred
format, but it is the first time I’ve noted that choosing to see the film in 2D
was actually a detriment to the film.
