Film Name:黑衣人：全球追緝 / Men in Black International
Those who know me well are aware that my standards for movies are actually quite “low,” especially when it comes to commercial films. As long as there’s something redeeming about them, even if they have plenty of flaws, I’ll make an effort to point out their merits and express my appreciation.
However, “Men in Black International” has forced me to make an exception.
Even approaching “Men in Black International” purely as an “entertainment flick,” the film failed to deliver much enjoyment… In short, it was an unsatisfying viewing experience.
The root cause lies in the film’s failure to define its own identity and tone. It loses the original highlights and essence of the “Men in Black” series while failing to establish its own distinct characteristics and style. Ultimately, it becomes an awkward sequel that desperately tries to fit into a mold.
[Friendly reminder: The following contains spoilers.]
When it comes to sci-fi films, I’ve always measured them by two criteria: “hard metrics” (world-building, setting, etc.) and “soft metrics” (storyline, acting, etc.). This film’s lackluster world-building is precisely what struck a chord with me.
Men in Black International fully embraces the foundational elements of the MIB franchise, which is perfectly acceptable. However, how far it can go while standing on the shoulders of giants depends entirely on the creators’ skill.
Unfortunately, the film lacks truly standout innovations: the memory eraser has been upgraded, but the changes are subtle and rarely utilized; the vehicles have been upgraded, yet they merely achieve “higher and faster” without the bold concepts seen in the third installment, like the “roller” car (only the New York-to-London express train, blending classic MIB tech aesthetics with modern sci-fi innovation, stands out as the film’s sole truly brilliant design).
Beyond that, the demonstration of the “futuristic space gun” is rather poor… The only instance in the film where it’s showcased is during H and M’s first encounter with the Phantom Twins—and even then, it feels overly concentrated.
What impression does this scene leave? There are so many space guns that no matter how many vehicles they dismantle, they keep pulling out new ones. Every size and caliber imaginable is available, yet after a chaotic barrage of fire, nothing sticks with the audience… It’s scattered, chaotic, and shallow—far less impactful than focusing on one or two distinctive space guns (Agent J’s classic “Little Bee” was iconic). Note: The world-destroying alien weapons are key props, not exclusive MIB space guns, so they count separately.
This reflects a fundamental flaw in the film’s foundation: superficiality.
If the tech gear falls short, what about the aliens—another major draw of the Men in Black franchise? Here are the primary antagonists from the first three films:
① The insectoid creature disguised as a human in Men in Black I;
② The supermodel-like “Vine Man” and the two-headed monster in Men in Black II;
③ The “Beast” that hides its eyes and fires weapons from its hands in Men in Black III.
These alien antagonists mostly appear in humanoid forms yet often carry distinctly inhuman traits. This contrast delivers superb comedic effect while highlighting their species’ characteristics. Their true forms frequently carry a B-movie-esque blend of roughness and eerie charm. Enhanced by appropriate special effects, they manage to entertain most audiences despite a touch of discomfort.
In stark contrast, the primary antagonists in “Men in Black International”—the Phantom Twins from the Pleiades—present a different challenge. While their true form resembles something other than a living creature, they otherwise appear as flawless human twins (and dancing? No thanks!).
It’s not that the original Men in Black series’ style is set in stone. Men in Black International actually features many classic MIB-style alien gags, like the “alien celebrity” Huang Bo and the ultimate “background prop” Nightflyer…
However, the aliens the film truly invests effort in developing—including the soldier Pawny, the four-armed Risa, and the fiercely loyal little beast—are all meticulously crafted yet lack that damp, sticky, down-to-earth charm and “smoke and fire” quality… It feels like the creators are playing with their hands in their pockets, afraid to get dirty. Did the aliens suddenly develop a cleanliness complex just because the stage shifted from New York to the European-African continent?
Of course, this fresh approach isn’t necessarily a failure—some might enjoy it. It’s just not my cup of tea.
With the “hard metrics” underwhelming, the “soft metrics” are even more awkward.
I must admit, at least half my interest in Men in Black International stems from the two leads: Chris Hemsworth and Tessa Thompson.
I adore their physical presence—Hemsworth’s physique is flawless, and I’ve admired Thompson’s aura since Westworld Season 1. During the film’s promotion, I happily bought into the “Asgardian leader’s Earth reemployment” angle, caring more about their performances than the Men in Black premise itself.
After watching the film, I realized their visual appeal was the only aspect that met my expectations—beyond showcasing their stunning physiques from every angle, the movie generated almost no compelling chemistry between them.
In the original MIB trilogy, Agents J and K followed the “veteran mentors the rookie, rookie challenges the veteran” dynamic. I was initially excited that the new Men in Black International would explore a different creative approach.
While still pairing veteran and rookie, this installment swapped the dynamic: a suave, cynical “veteran agent” alongside a brilliant, proactive “trainee agent.” Though distinct, it remains a classic pairing—execute the “standard moves” well, and it could shine.
But whether the crew overdid it trying to highlight character traits or simply never figured out how to handle the dynamic between the two leads, H and M never click. At every crucial moment meant to “bridge the gap” or “show character growth,” there’s this frustrating sense of falling just short.
The film features two storylines: one revolves around the global manhunt for alien weapons, while the other centers on an internal investigation within the MIB division to uncover a mole. In truth, the plot itself isn’t flawed— it’s well-rounded without unnecessary fluff, and even pulls off a few clever subversions of conventions—but its pacing is disastrous. It skims over crucial moments that demand depth, and when it should be building tension, it just stares blankly at each other and calls it a day…
This creates several disjointed moments, like H dragging M to Morocco on a mission or the MIB suddenly eliminating the Phantom Twins, both feeling oddly disconnected from the surrounding narrative.
Another point of criticism: “Men in Black International” abandons the original’s meticulous, brooding tone, most visibly through its lack of respect for the iconic black suits.
In theory, once you don the black suit, you become the world’s “invisible man,” and the uniform is your lifelong companion.
Yet in this film, H casually undoes buttons and changes outfits at will, inadvertently diluting the MIB’s unique professional identity. I’m not advocating rigid dogmatism—charismatic characters can transcend rules—but neither H nor M possess that innate magnetism here.
With its off-kilter plot and poorly defined characters, the film unconsciously devolves into superficial posturing.
I expected H throwing a hammer to be a highlight, but it ended up highlighting the film’s awkwardness: Due to memory erasure and other factors, H spends most of the film in a daze, causing more trouble than solving problems. This already makes it hard for audiences to engage, and now they deliberately throw in a Thor reference. Are you Agent H, the MIB hero, or just a mannequin for costume changes?
After watching yesterday, I didn’t feel it as strongly, but writing this today makes the film’s discomfort even more apparent.
The Men in Black series was one of my formative films as a teenager. Its unique blend of sci-fi and comedy opened my eyes to a whole new world, which is precisely why I’m so disappointed with Men in Black International.
It’s not entirely about being “stuck in the past” or “unwilling to change.” I welcome innovation in this classic franchise, but the reality is that the new film failed to establish its own distinct style while discarding the strengths of the originals. Saying I “love” it is easier said than done.
It feels like looking at two paintings in the London branch conference room. The difference is this: J and K’s heroic bug-killing exploits are real, while T and H’s legendary bee-beast slaying is pure fabrication.
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