Hancock is a superhero whose ill-considered behavior regularly causes damage in the millions. He changes when the person he saves helps him improve his public image.
Years after a plague kills most of humanity and transforms the rest into monsters, the sole survivor in New York City struggles valiantly to find a cure in this post-apocalyptic action thriller.
Jack Hall, paleoclimatologist, must make a daring trek from Washington, D.C. to New York City to reach his son, trapped in the cross-hairs of a sudden international storm which plunges the planet into a new Ice Age.
After discovering that an asteroid the size of Texas is going to impact Earth in less than a month, N.A.S.A. recruits a misfit team of deep core drillers to save the planet.
Director:
Michael Bay
Stars:
Bruce Willis,
Billy Bob Thornton,
Ben Affleck
Former United Nations employee Gerry Lane traverses the world in a race against time to stop a zombie pandemic that is toppling armies and governments and threatens to destroy humanity itself.
A loyal and dedicated Hong Kong Inspector teams up with a reckless and loudmouthed L.A.P.D. detective to rescue the Chinese Consul's kidnapped daughter, while trying to arrest a dangerous crime lord along the way.
Kay and Jay reunite to provide our best, last and only line of defense against a sinister seductress who levels the toughest challenge yet to the MIBs untarnished mission statement: protecting the earth from the scum of the universe. It's been four years since the alien-seeking agents averted an intergalactic disaster of epic proportions. And now it's a race against the clock as Jay must convince Kay-who not only has absolutely no memory of his time spent with the Men In Black, but is also the only living person left with the expertise to save the galaxy-to reunite with the MIB before the earth submits to ultimate destruction.Written by
Anthony Pereyra {hypersonic91@yahoo.com}
J's line on the "driver airbag" ("Actually it came with a black dude, but he kept getting pulled over.") was improvised by Will Smith. The producers liked it so much it even made the theatrical trailer. Barry Sonnenfeld however was not happy, it was played over and over in the month of June prior to the film's release, making the joke old and tired by the time people saw it in the movie. See more »
Goofs
Near the end when K presses the red button, you clearly see Times Square behind them. In the next shot of the car, they are seen flying through Times Square again (notice the Virgin Sign passing twice). See more »
Quotes
[first lines]
Mysteries in History Narrator:
Mysteries in History with your host, Peter Graves!
Peter Graves:
Although no one has ever been able to prove their existence, a quasi-government agency known as the Men in Black supposedly carries out secret operations here on Earth in order to keep us safe from aliens throughout the galaxies. Here is one of their stories that "never happened", from one of their files that doesn't exist. 1978. The leaders of Zartha flee their planet in order to escape the clutches of the evil Kylothian, ...
See more »
Crazy Credits
Shader Writers for effects animators: SPI. See more »
Alternate Versions
Scenes shown in TV spots included two extra scenes in the deneuralizer room (one of K and J at the door and another with K in the chair, both with Jones in the mailman's uniform), and a version of the clothes change montage featuring K's mailman uniform. See more »
`Originality,' is, almost by definition, a one-time thing. In 1997, the original `Men in Black' struck a nerve with movie audiences by showing that even a big budget blockbuster, heavily loaded down with state-of-the-art, computer-generated special effects, could still manage to seem light on its feet. The makers of that film pulled off this feat of gravitational legerdemain by coming up with a concept and a script overflowing with creativity, wit, imagination and a cachet of `hipness' to go along with its tone of anarchic playfulness.
Well, five years have passed and we now have `Men in Black II' to confirm what most of us suspected all along: that works that rely on `uniqueness' as their prime selling point are rarely ever able to duplicate their success a second time around. Five years can be a lifetime in pop culture and what seemed `cool' one summer can appear decidedly `old hat' the next. Without that aura of cutting edge newness that defined the original, `Men in Black II' seems like just another loud, over-the-top summertime blockbuster.
Will Smith and Tommy Lee Jones are back playing Jay and Kay, agents for the government's top secret organization whose job it is to monitor the activities of the thousands of aliens who have secretly infiltrated earth's societies and to help protect the planet from any possible threat from interstellar space. Smith and Jones still appear to be quite comfortable in their roles and they are aided by Lara Flynn Boyle, as Serleena, the baddest alien this side of Darth Vader, and Rip Torn, delightful as Zed, the slightly cracked head of the Men in Black agency.
Although the special effects in this film are, as one would expect in this day and age, astonishing and virtually seamless, the same can definitely NOT be said for the film's screenplay. The story moves along at a fairly fast clip, but it rarely makes us laugh. In fact, the script comes across as undisciplined nonsense, lacking both logic and coherence. Unlike in the earlier film, we get the sense that literally everything here has been placed at the service of the special effects. There's an awful lot of running and bouncing around but rarely to any point or purpose. Indeed, we end up feeling at the end somehow more exhausted and drained than exhilarated and euphoric. It would appear that director Barry Sonnenfeld thought that if he could just keep the thing MOVING we wouldn't notice that he had nothing new to offer in this retread. It doesn't work. In fact, if `Men in Black II' shows us anything, it is that just because something MOVES doesn't mean that it can't bore us at the same time.
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`Originality,' is, almost by definition, a one-time thing. In 1997, the original `Men in Black' struck a nerve with movie audiences by showing that even a big budget blockbuster, heavily loaded down with state-of-the-art, computer-generated special effects, could still manage to seem light on its feet. The makers of that film pulled off this feat of gravitational legerdemain by coming up with a concept and a script overflowing with creativity, wit, imagination and a cachet of `hipness' to go along with its tone of anarchic playfulness.
Well, five years have passed and we now have `Men in Black II' to confirm what most of us suspected all along: that works that rely on `uniqueness' as their prime selling point are rarely ever able to duplicate their success a second time around. Five years can be a lifetime in pop culture and what seemed `cool' one summer can appear decidedly `old hat' the next. Without that aura of cutting edge newness that defined the original, `Men in Black II' seems like just another loud, over-the-top summertime blockbuster.
Will Smith and Tommy Lee Jones are back playing Jay and Kay, agents for the government's top secret organization whose job it is to monitor the activities of the thousands of aliens who have secretly infiltrated earth's societies and to help protect the planet from any possible threat from interstellar space. Smith and Jones still appear to be quite comfortable in their roles and they are aided by Lara Flynn Boyle, as Serleena, the baddest alien this side of Darth Vader, and Rip Torn, delightful as Zed, the slightly cracked head of the Men in Black agency.
Although the special effects in this film are, as one would expect in this day and age, astonishing and virtually seamless, the same can definitely NOT be said for the film's screenplay. The story moves along at a fairly fast clip, but it rarely makes us laugh. In fact, the script comes across as undisciplined nonsense, lacking both logic and coherence. Unlike in the earlier film, we get the sense that literally everything here has been placed at the service of the special effects. There's an awful lot of running and bouncing around but rarely to any point or purpose. Indeed, we end up feeling at the end somehow more exhausted and drained than exhilarated and euphoric. It would appear that director Barry Sonnenfeld thought that if he could just keep the thing MOVING we wouldn't notice that he had nothing new to offer in this retread. It doesn't work. In fact, if `Men in Black II' shows us anything, it is that just because something MOVES doesn't mean that it can't bore us at the same time.