The two best special agents in the Wild West must save President Grant from the clutches of a diabolical, wheelchair-bound, steampunk-savvy, Confederate scientist bent on revenge for losing the Civil War.
The music video for "Black Suits Comin' (Nod Ya Head)" features footage of Smith performing onstage in a Men in Black II environment, featuring characters and footage from the movie. It is ... See full summary »
A crash landing leaves Kitai Raige and his father Cypher stranded on Earth, a millennium after events forced humanity's escape. With Cypher injured, Kitai must embark on a perilous journey to signal for help.
Jim West is a guns-a-blazing former Civil War hero. Artemus Gordon is an inventive U.S. Marshal who excels in disguise. When the United States is threatened by psychotic Confederate Arliss Loveless, President Ulysses S Grant teams the duo up to bring him to justice. On a hazard-packed train journey from Washington, D.C. to Utah, West and Gordon must combine their skills to best Loveless and his diabolical machines.Written by
Chris Turner <email@example.com> and J. Kyle
The sequences on both Artemus Gordon's and Dr. Loveless' trains interiors were shot on sets at Warner Brothers Studios. The train exteriors were shot in Idaho. See more »
When pursuing Loveless' train, as James and Artemus' train approaches the end of the tunnel, the girders holding up Loveless' train are not visible. As soon as the train leaves the tunnel, the girders can be seen on either side of the track immediately at the end of the tunnel. See more »
[as they're deciding what to wear for Loveless's masked ball]
... Gypsy Queen... pirate... Ah. How about this? You can come as my manservant.
Capt. James West:
[comically stereotypical voice]
Why, yes'um, Master Gordon; Oh I swears, I'd be delghtedi! I sing, I dance for you, sir! Oh, and I swears none of the other white folks'll knows
Capt. James West:
I'd rather shoot myself than play your damn manservant.
See more »
The opening credits of this film were highly entertaining, and the closing credits featuring Will's WWW rap was fun as well. Everything in between was a pure, unadulterated, steaming pile of crud! I sat and marveled at the drek that was being spewed out on the screen from this supposedly Summer Blockbuster movie and was totally stupefied. I've seen bad movies before, and I've certainly seen my share of big-budget, special-effects money machines - but none was as poorly conceived as this. What makes it even more amazing is that we had actors with at least a proven track record of success. We had a director (Barry Sonnenfeld) who has managed to put together his share of successful movies. And if this weren't enough, there was a pant load of big explosions and digital effects! So what went wrong?
The script, the script, the script. It boggles my mind that this screenplay actually made it to production. The dialogue was atrocious. The attempts at humor were pathetic. The characters had about as much depth as the screen they were being projected on. Hayek's character was completely pointless, and had less than no reason to be there. The repeated exchange of racial/disabled insults between the black Jim West and the legless Dr. Loveless was shameful. It seemed that about every twenty minutes Kline's character launched into a diatribe reiterating the plot, and articulating what they were doing and why. I can only assume this was intended for the audience members who had just woken up and needed to get caught up with the "action."
My biggest regret in seeing this film is that wish I could have warned you earlier not to see it. I'm sure there are several movie fans out there right now who unwittingly fell victim to this movie, and are at this moment still lying in bed with the covers pulled over their heads, swearing they'll never go to the theater again as long as they live. Don't go see this movie, don't let your kids see this movie, don't even recommend it to people you truly despise. If, on the other hand, you have a morbid fascination with the continuing devolution of Hollywood and aren't afraid to face definitive evidence that our culture is moments away from claiming creative bankruptcy, this one is a must see.
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