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Men in Black II (2002)

PG-13 | | Action, Adventure, Comedy | 3 July 2002 (USA)
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Agent J needs help so he is sent to find Agent K and restore his memory.

Director:

Barry Sonnenfeld

Writers:

Lowell Cunningham (comic book "Malibu Comics"), Robert Gordon (story) | 2 more credits »
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1,285 ( 13)
4 wins & 16 nominations. See more awards »

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Cast

Cast overview, first billed only:
Tommy Lee Jones ... Kay
Will Smith ... Jay
Rip Torn ... Zed
Lara Flynn Boyle ... Serleena
Johnny Knoxville ... Scrad / Charlie
Rosario Dawson ... Laura Vasquez
Tony Shalhoub ... Jeebs
Patrick Warburton ... Agent Tee
Jack Kehler ... Ben
David Cross ... Newton
Colombe Jacobsen-Derstine Colombe Jacobsen-Derstine ... Hailey (as Colombe Jacobsen)
Peter Spellos ... Motorman
Michael Rivkin ... Man with Dog
Michael Bailey Smith ... Creepy
Lenny Venito ... New York Guy
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Storyline

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}

Plot Summary | Plot Synopsis

Taglines:

This Summer, They're Back in Business. They're Back in Action. They're Back in Black. See more »


Motion Picture Rating (MPAA)

Rated PG-13 for sci-fi action violence and some provocative humor | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official Facebook | Sony Pictures

Country:

USA

Language:

English

Release Date:

3 July 2002 (USA) See more »

Also Known As:

MIIB See more »

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Box Office

Budget:

$140,000,000 (estimated)

Opening Weekend USA:

$52,148,751, 7 July 2002, Wide Release

Gross USA:

$190,418,803

Cumulative Worldwide Gross:

$441,818,803
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

DTS | Dolby Digital | SDDS

Color:

Color

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Will Smith and Lara Flynn Boyle previously worked together in Where the Day Takes You (1992). See more »

Goofs

The movie depicts the 81st Street and Central Park West subway stop as stopping for the A and C lines and depicts platforms being on both sides of the tracks. The real stop is for the B and C lines (not A) and only has platforms on one side. 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...
See more »

Crazy Credits

Title designer Pablo Ferro used the spindly lettering style of the film's opening sequence from Stanley Kubrick's Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), which was Ferro's first film. 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 »

Connections

Featured in Late Night with Conan O'Brien: Episode #9.156 (2002) See more »

Soundtracks

Speed Demon
Written by Ron Keel
Performed by Keel
Courtesy of MasterSource Music Catalog
See more »

Frequently Asked Questions

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User Reviews

bland sequel
16 July 2002 | by Buddy-51See all my reviews

`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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