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Men In Black 3

It’s not a sequel that needed to be made, but thanks to the charm of its leads and a tone that harks back to the wit and humour of the original, it’s a pretty enjoyable trip.

Bel Ami

The excellent female support cast saves this patchy effort, which is let down by its leading man and a flat screenplay.

The Dictator

A disappointing, often repulsive and mean-spirited mess of a film with seemingly only one real criterion on its agenda: to shock and offend.

The Woman In Black

Packed with atmosphere, this old-fashioned but deftly told ghost story delivers ample chills and thrills.

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Johnny English Reborn (Film)

by Michael Simms | September 15, 2011 10:19 | Edited September 15, 2011 10:20

This belated sequel squanders comic potential with unimaginative gags, but Rowan Atkinson’s engaging screen presence ensures it’s still an entertaining ride.

It's been a long time between drinks for Rowan Atkinson and his obliviously inept spy, Johnny English - and whilst this sequel to 2003's comedy hit isn't exactly overflowing with witty dialogue or slapstick comedy gold, Johnny English Reborn serves up a light and breezy aperitif...

 

After a mysterious ‘mishap' in Mozambique (the mere mention of the country sends English into a fit of uncontrollable twitching), the once successful 00 agent has lost his Knighthood, and his status as MI7's top spy. In a remote Buddhist temple, English is going through a ‘rebirth' so to speak, training in the art of mind, body, spirit (and err, ball strengthening...) But when MI7 get wind of a plot to assassinate the Chinese premier, English's services are called upon once more, resulting in a high octane wheelchair chase through the streets of London, brawls with elderly women, and a typically James Bond-eque showdown on a ski lift in the Swiss Alps.

 

Though the film boasts an impressive supporting cast - including the stoic Gillian Anderson as MI7's head ‘Pegasus', and a luminous Rosamund Pike as behavioural psychologist/love interest, Kate Sumner - this is Atkinson's film, and there's no denying the man's talent as a performer. With the slightest of facial expressions, Atkinson has an uncanny ability to send audiences into spontaneous fits of laughter with little effort. It's a shame then that the screenplay, by Hamish McColl (Mr. Bean's Holiday), doesn't aim higher.

 

Perhaps it's due to the fact that the James Bond films themselves are already brimming with rich humour, but the Johnny English franchise fails to soar as a clever parody, sitting somewhere uncomfortably between farce, homage and an actual spy thriller. It lacks the absurdity that made Austin Powers such a riotous comedy experience, and whilst there are engaging moments, there is an absence of inventive gags to hold the comedy cohesively together. Scenes that hold enormous comic promise are either cut short, or opt for the predictable over the subversive.

 

Nonetheless, there is still enjoyment to be had. At the helm of director Oliver Parker (St. Trinian's and Dorian Gray), there is a dynamic energy to the pacing, and the finale set against the Swiss Alps is a tight and fun climax. Audiences should also ensure that they stay tuned as the credits roll as the film's finest visual treat is saved until last.