Men in Black III

The clandestine Men in Black security force is back to monitor Earth's alien activity in the franchise's third instalment, Men in Black III, fully loaded with neuralyzers, inexhaustible technological and knowledge resources, a law enforcing odd couple, and monumental temporal distortions.

Just in time for Summer. 

If the darkness is literally thought of as a nocturnal limiting force within which means of generating light must be creatively produced in order to enable vision (fire, candles, electrical lights), and this literal example is then metaphorically transferred to the domain of patriarchal construction (Men in Black), then perhaps this film is saying that one of the ways in which the male traditionally tends to visualize attempts to quarantine the unknown (the feminine, difference, egalitarianism) is by interminably equipping solid and steady agents of cultural homogeneity with flashy gadgets and binary intergenerational banter which provides the elder with a stubborn and taciturn way of expressing himself (he's seen everything before and seeks to waste no time discussing things) and the younger with an endless supply of frustrated curiosity.      

In Men in Black III we find Agent J (Will Smith) and Agent K (Tommy Lee Jones/Josh Brolin) at work preventing the public from preserving extraterrestrial information. Traditional heteronormative difference is supported while gender bending is not. Of the two most prominent female characters, one is motherly (she has a prominent position in the present but doesn't directly take part in the action), the other, a criminal (who dies early on).  Agent K, who reads the entire menu every time before ordering the same thing, is the more elderly of the two (while the options have multiplied, he remains resistant to change). After Boris the Animal (Jemaine Clement) heads back in time and kills him, Agent J's present turns into a war zone as aliens invade to destroy the Earth. After travelling to the past to save his partner, Agent J is pulled over because police officers are stopping every African American driving a nice car. Agent J has stolen the car and is African American. Now, he has stolen the car to save the perseverance of an unyielding content permanency in order to prevent the Earth's destruction. Meaning that if the side effects of this permanency had been successful in the past they would have resulted in their own annihilation (Agent J escapes).  Yet those very same side effects are indirectly legitimized by Agent J's actions. Which also include monitoring difference to ensure that its multidimensional presence doesn't have a disruptive effect.  

The Men in Black films do directly acknowledge and imaginatively fictionalize the existence of well funded secretive agencies designed to prevent the public from learning, but don't seem to recognize that this is problematic, since they're made to look fun and hip yet rigid and combative.

Like a euphemistic police state.

Which isn't very bright.