Men in Black 3 (2012)

The review says the film restores the franchise’s original magic and makes a strong case for another installment. It praises Josh Brolin’s convincing take on a younger Agent K and the brisk, entertaining time-travel adventure.

Papamichael finds the film a charming, action-packed return to form after the disappointing second instalment. She singles out Josh Brolin’s performance as young K as a scene-stealing highlight.

Rabin finds the film inessential but sufficiently entertaining to justify its existence. He praises the cast’s dramatic ability, especially Josh Brolin’s warmth and Tommy Lee Jones’s expressive sadness.

Sharkey finds the film campy fun that restores much of the series’ appeal, though it falls short of the original’s inventiveness. She especially praises Josh Brolin’s brilliant channeling of Tommy Lee Jones as the younger Agent K.

The critic finds the sequel entertaining but less fresh than the original, with its ending striking a sour note. Josh Brolin’s convincing performance as young Agent K is singled out for praise.

French finds the film moderately enjoyable, with its time-travel turn giving the franchise a fresh direction. He particularly praises the vertigo-inducing 3D sequences at the Chrysler Building and above the Apollo 11 capsule.

The critic finds the sequel’s spirit largely intact, though its uneven edges and sentimental ending hold it back. Josh Brolin’s quietly funny, remarkably convincing performance as young Agent K is singled out for praise.

The page identifies this as a review, but its text is hidden behind a paywall, so the critic’s verdict is unavailable. No specific praise or complaint can be verified from the accessible page.

Johnston calls it an okay-ish film that proves more enjoyable than expected. He praises its ability to exceed low expectations; the available text names no specific element of the film.

Semley finds the film dull and pointlessly self-referential, falling short of the original’s lively pleasures. He praises the Factory party scene with Bill Hader and the inventive character of Griffin, but says these moments cannot redeem the film.

Smith calls the film an average, tonally uncertain sequel that makes its own existence seem questionable. He praises Jemaine Clement as the most successful addition, while faulting the film for underusing him and the younger K pairing.

The critic finds the sequel muddled and lacking the wit and chemistry of the earlier films, though it has enough good moments to remain watchable. Josh Brolin’s performance and the Andy Warhol’s Factory sequence stand out for praise.

Edelstein finds the film competent but weighed down by inertia and a palpable lack of passion. He praises Josh Brolin’s performance and the design of the headquarters, while faulting the script and the film’s humor.

Brody finds the film largely inert, with weak historical resonance and stale characterization. He praises Michael Stuhlbarg’s melancholy performance and the quiet, affecting Shea Stadium scene.

Papamichael finds the sequel funny, exciting and surprisingly poignant, with the original films’ charm restored. She especially praises Josh Brolin’s uncanny yet emotionally nuanced performance as young Agent K.

The critic finds the film passable and entertaining, stronger than the second film but short of the original. They praise the 1969 portion, especially Josh Brolin’s performance and the chemistry between him and Will Smith, while criticizing the awkward, unfunny opening.

Kaufman finds the film an acceptable, light summer blockbuster that ultimately feels undercooked. He praises its playful 1960s set pieces and Josh Brolin’s performance as the younger Agent K.

Murphy finds the sequel enjoyable and a solid improvement on Men in Black 2, despite its scattered plot. She particularly praises Josh Brolin’s convincing, charming performance as the younger Agent K.

The critic finds a brisk, clever film weighed down by Will Smith and Tommy Lee Jones seeming disengaged. The supporting cast—especially Josh Brolin and Bill Hader—and the film’s design and visual effects earn praise.

The critic calls the film another nostalgic letdown, with dated jokes and an unconvincing finale undermining it. They praise the familiar production design and the choice of puppets and prosthetics over digital effects.