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Postby lhb412 » Thu Dec 20, 2018 1:44 pm

The movie doesn't look special to me by the footage present... but it's got a super likable casts and the trailer leans into that so it's a pretty good trailer? Like, "this is a pleasant movie starring people you like" isn't a bad pitch.
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Postby The Shadow » Fri Dec 21, 2018 12:07 am

It's a decent trailer, and from what we see it looks like MIB:I could prove to be an entertaining film. I do like that MIB:I looks to be a continuation rather than a reboot.

After seeing those couple scenes in the beginning of the trailer, I think I want to want to see an MIB movie with Neeson and Hemsworth as the lead agents a bit more though.
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Postby UltraDada72 » Fri Dec 21, 2018 8:14 am

I thought the trailer looked decent as well. It peaked my interest more than the Hellboy trailer, which just didn't interest me.
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Postby mr.negativity » Wed Jun 12, 2019 10:26 pm

THR 6/12/2019:
'Men in Black: International': Film Review

Screen Rant:
Men In Black: International Is The Cheapest Movie In The Series

Screen Rant:
Men in Black: International Scores Franchise Low Rotten Tomatoes Rating

Screen Rant:
Why The Men In Black/Jump Street Movie Is No Longer Happening
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Postby O.Supreme » Thu Jun 13, 2019 2:23 am

Most reviews I've seen say it's bland, by the numbers etc. After Sony's failure with Ghostbusters and so many other IP getting hate for changing the status quo, maybe one film that plays it safe, and gives exactly what audiences expect isn't a bad thing. I'd like to see this at a matinee if I can
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Postby mr.negativity » Thu Jun 13, 2019 9:24 pm

THR 6/13/2019:
Box Office Preview: 'MIB: International' to Lead Weekend With Muted $30M Bow

Screen Rant:
Men In Black Writer Calls Out Sony For Claiming First Movie Still Hasn’t Made A Profit

THR JUNE 17, 2019:
Rewrites, Infighting and No "Urgency": Behind Sony's Lackluster 'Men in Black' Relaunch
Borys Kit wrote:In 2016, Sony Pictures’ top executives, including chief Tom Rothman, faced a dilemma: Should they greenlight a reboot of Men in Black or pursue a Men in Black crossover with a second franchise, 21 Jump Street? The stakes were high. A misstep could kill a franchise. Or two.

Initially, Sony tried to make deals for the crossover route. That plan was ambitious, requiring names such as Steven Spielberg and Walter Parkes on the Black side, and Chris Miller and Phil Lord on the Jump Street side to forego rich producing deals. But when Street producer Neal Moritz refused to slash his first-dollar pact, according to several sources with knowledge of the talks and development of both projects, the studio pivoted and went for the Men in Black reboot.

That Sony would attempt to relaunch the franchise without Will Smith was a roll of the dice. The studio was already trying to cut a deal with him for Bad Boys 3 and, internally, getting the actor along with Tommy Lee Jones for a fourth MIB film was seen to be both an expensive and not as forward-looking proposition, sources tell The Hollywood Reporter.

That choice to relaunch the franchise with new stars would lead to a battle between director and producer and, ultimately, a crash landing at the box office. Men in Black: International, a hoped for relaunch of a franchise with sporadic entries since 1997 but one that grossed over $1.6 billion, opened to only $30.1 million stateside. It was, if not a franchise killer, a franchise freezer.

The Will Smith and Tommy Lee Jones-starring MIB films — released in 1997, 2002 and 2012 — all bowed in the low-to-mid $50 million range. In the months prior to release, Sony and industry experts had given up on International opening near those numbers, with some anticipating a low $30 million debut and high-end estimates coming in on $38 million. Sony was hoping to bring in a new fanbase for MIB franchise, thinking that International would be able to capitalize on Thompson and Hemsworth’s combined star power following their team-up in the critically and commercially successful Marvel Studios sequel Thor: Ragnarok.

And the studio was initially high on the script by Art Marcum and Matt Holloway. “The script was good,” says one insider. “You don’t attract Chris Hemsworth and Tessa Thompson if the script isn’t good.” It’s a sentiment echoed by several insiders familiar with the development of International who spoke on condition of anonymity to THR.

But when the executive overseeing the project, exec vp of production David Beaubaire, exited the studio in summer 2018 and was never replaced, a tug of war for control of the film began. Director F. Gary Gray, who helmed Straight Outta Compton and The Fate of the Furious, and Walter Parkes, the veteran producer and Spielberg confidant who helped make the original movie, clashed on the vision for the film, a source says. Parkes produced the movie with his wife and longtime business partner, Laurie MacDonald.

Early drafts of the script were described as being edgier and more timely, tying the story to ideas of immigration. At one point, a music group a la The Beatles were to be the bad guys, with four people merging into one villain. Multiple sources describe Parkes, who had final cut on the movie and who had written movies such as the 1980s classic WarGames and the Robert Redford thriller Sneakers, as having a heavy hand in overseeing rewrites not only during the pre-production process but during production as well.

One source says new pages arrived daily for the actors, causing a certain amount of confusion, as well as stripping away what some considered the more modern sensibilities. Thompson and Hemsworth then hired their own dialogue writers. (Both Marcum and Holloway were on set even as Parkes looked to dictate rewrites, another source notes, seconding that multiple dialogue writers served stints on set for the actors.)

Two sources say that Parkes at times also stepped in on helming duties, although no Directors Guild of America rules were said to be violated. Gray tried to exit the production several times but was convinced to stay by the studio, a source says. Even color correcting was a source of contention between the director and producer. "Walter is both the arsonist and the fireman," contends an insider.

Remarkably, the post-production process was relatively smooth. There were no major reshoots and test screenings were mainly localized to friends and family screenings on the lot, says one source. “It wasn’t a Dark Phoenix situation,” says the studio source, referring to the recent X-Men movie that faced reshoots and major retooling after principal photography had wrapped.

The studio tested two cuts – one by Gray, the other by Parkes – with the version by Parkes, who has final cut, being chosen. “The studio was an absentee landlord. They were nowhere to be found,” says one International insider, pointing to the lack of guidance from Sony over multiple disagreements that had broken out between Parkes and Gray.

What Rothman did ensure, however, was that the studio’s exposure was limited. The movie cost in the $110 million range and the executive brought in Chinese conglomerate Tencent and several other co-financiers. The marketing and publicity budget spend was said to be on the lower side due to various tie-ins.

In the end, the movie was met with a lowly 25 percent score on Rotten Tomatoes and a B Cinemascore, showing that audiences, those who did show up, shrugged. “The urgency to see this was never there and the movie needed a greater reason to be,” says a Sony executive.

Yet, in these franchise hungry days at studios, even this failure does not kill the franchise, executives agree. “Aliens walking among us is at its core a great idea,” this Sony executive adds. “Men in Black will be revisited again at one point, either as a series, as streaming, or as another movie.”
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