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| Courtesy of Sony |
(Rated PG-13 for sci-fi action, some language and suggestive material.)
In this spinoff of the sci-fi franchise that once starred Will Smith and Tommy Lee Jones, new recruit Agent M (Tessa Thompson) is sent to London to uncover a potential mole in the organization tasked with protecting Earth from alien threats. After gaining the admiration of the boss (Liam Neeson), she’s paired with the brash, hotshot Agent H (Chris Hemsworth).
Men in Black: International proves the camaraderie Thompson and Hemsworth demonstrated in Thor: Ragnarok and Avengers: Endgame wasn’t a fluke. The two make a dynamite pair and I’d have no qualms with them becoming this era’s Tom Hanks/Meg Ryan or Richard Gere/Julia Roberts.
What’s more, I love that director F. Gary Gray, along with co-writers Matt Holloway and Art Marcum, focuses primarily on the characters’ mutual respect as colleagues. That’s so much better than trying to force an unnecessary romantic relationship just because the stars are ridiculously attractive.
Neeson, Emma Thompson, Rebecca Ferguson and Rafe Spall are also solid in their brief time on screen, but Kumail Nanjiani (The Big Sick) steals the movie as the voice of a tiny alien who dedicates himself to serving Agent M. He gets most of the big laughs and even gets his own touching hero moment during the big battle.
Speaking of, there are quite a few impressive action sequences, but the most entertaining moments are still the characters hanging out and talking. Perhaps the most surprising aspect of the entire movie is that I stopped thinking about the franchise’s previous big-name stars almost immediately. Once I saw Agent M’s childhood origin story – simultaneously adorable and sad – play out, I trusted that the movie could stand on its own.
I still don’t know if Men in Black: International was necessary (pretty sure we’ve said all we need to say about this universe with the previous three installments), but it could’ve been so much worse. Rather than just a quick, lazy cash-in on name recognition, the cast and crew clearly went through a lot of effort to deliver a new spin on the material that’s actually fun and interesting.
Grade: B
5B
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| Courtesy of RYOT |
(Rated PG-13 for thematic content including unsettling images, and some strong language. Now playing in limited release.)
This riveting documentary focuses on the early days of the HIV/AIDS epidemic, when there was a great deal of fear and uncertainty. Even before the medical profession knew what caused the illness or how it was transmitted, a brave team of nurses and doctors at San Francisco General Hospital established the first ward in the nation specifically designed to treat AIDS patients. The unit’s holistic approach – particularly its emphasis on humanity – created a new standard of care and educated the nation.
Because – thankfully – HIV is no longer the death sentence it once was, people born after the height of the epidemic may not fully grasp what a horrific and heartbreaking time that was for countless patients, families, partners and friends. Co-directors Dan Krauss and Paul Haggis rectify that by transporting viewers back to that era thanks to vivid, poignant and sometimes infuriating interviews with the nurses, doctors, and (devastatingly few) patients who lived through it.
In addition, there’s a bounty of old footage that shows these interviewees as they were then, creating a fascinating sense of time folding in on itself. By juxtaposing the two periods, it’s evident what a physical and psychological toll this epidemic took; not just on the patients who are no longer around to speak for themselves, but also on the caretakers who loved them when many of their own families turned their backs.
The word “hero” gets thrown around so much that it has almost lost its meaning. 5B reminds us what real heroes look like. They look like Cliff Morrison, David Denmark, Mary Magee, Dr. Paul Volberding, George Kelly, Guy Vandenberg, Hank Plante and Rita Rockett. It’s not easy viewing by any means – I think I started crying five minutes in and didn’t stop until the credits – but it’s an essential watch.
However, there are some rough spots, including moments when you can feel the directors manipulating the story for dramatic effect. That’s unfortunate since the material and these incredible people are clearly powerful enough on their own. In addition, certain pieces of information are held back until later to allow for a plot twist when it would’ve made more narrative sense to reveal them earlier.
There are also some heavy-handed music choices mean to glorify and villainize – depending on the interviewee – that feel like putting a thumb on the scales a bit when the subject’s actions speak for themselves. For example, we don’t need to see a surgeon scoff at the idea of nurses being called heroes for caring for “the least of these” and then watch her play “Softly and Tenderly” on the piano in order to realize she’s a hypocrite. Her words are enough.
Grade: B
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