The Incredible Hulk/The Promotion/You Don't Mess with the Zohan/The Happening/Baghead

Do any of the people from the original TV series appear in this movie?

By far the BEST adaptation of a classic TV series for the big screen.

A superb updating of a classic production!

Suffers from a slightly muddled plot and not all of it is funny, but it is fairly enjoyable mainly thanks to Carrell and Hathaway

McGill University, Montréal, Québec, Canada

Steve Carell and Tina Fey in Date Night (2010)

Rowan Atkinson in Johnny English Reborn (2011)

Don Adams and Barbara Feldon in Get Smart (1995)

Get Smart's Bruce and Lloyd Out of Control

Masi Oka and Nate Torrence in Get Smart's Bruce and Lloyd Out of Control (2008)

Mark Wahlberg and Will Ferrell in The Other Guys (2010)

Rowan Atkinson and Olga Kurylenko in Johnny English Strikes Again (2018)

Will Ferrell, Steve Carell, David Koechner, and Paul Rudd in Anchorman 2: The Legend Continues (2013)

Kevin Hart and Dwayne Johnson in Central Intelligence (2016)

Morgan Freeman, Angelina Jolie, and James McAvoy in Wanted (2008)

Anne Hathaway, Steve Carell, and Dwayne Johnson in Get Smart (2008)

I think it's only fair to warn you, this facility is surrounded by a highly trained team of 130 Black Op Snipers.

Would you believe two dozen Delta Force Commandos?

Terence Stamp, Steve Carell, and Ken Davitian in Get Smart (2008)

Anne Hathaway and Steve Carell in Get Smart (2008)

Alan Arkin, James Caan, Anne Hathaway, Dwayne Johnson, and Cedric Yarbrough in Get Smart (2008)

Steve Carell

Anne Hathaway

Alan Arkin

Tom J. Astle

Matt Ember

Mel Brooks

Maxwell Smart, a highly intellectual but bumbling spy working for the CONTROL agency, is tasked with preventing a terrorist attack from rival spy agency KAOS.

Peter Segal

Get Smart

The new &quot;Get Smart&quot; does a masterful job of capturing the style, tone and humor of the &apos;60s series, while transporting it into a modern sensibility. I had hopes for this film after seeing the two leads doing a 30-second skit on the Academy Awards show and thought they were dead on. So I invested $11.50 and was proved right.

First, this is no cheap knockoff. The production team captured Buck Henry&apos;s creation very credibly both in tone and substance. It reminded me very much of the late &apos;80s homage to &quot;Dragnet,&quot; which was executed with love and great attention to detail (right down to the product placement of Camel cigarettes and a photo of Jack Webb on the Dan Akroyd&apos;s desk). It&apos;s no small feat updating something as much a part of its era into a modern sensibility. There were even echoes of the early James Bond films (especially in The Rock&apos;s ladykiller character flirting with CONTROL&apos;s &quot;Miss Moneypenny&quot; and in some of the musical cues). On the other hand, the production values were all first-rate and contemporary, including a CGI effect of an aerial fly-around and push-in to a 747 that was reminiscent of the key shot in the pilot of Star Trek.

Steve Carrell makes a very reasonable Agent 86; where Don Adams played the character as a bumbling naif, Carrell makes him into a goodhearted wannabe who, despite having the kind of personality that renders him invisible in society, still has intelligence and an earnestness that can make him into hero material when he works at it. He reminded me of Jim Varney&apos;s portrayal of Jed Clampett: pure of heart and belief in his fellow man, yet with a bit of chops in dealing with the dark side of society. He fumbles around a lot getting his sea legs after years of being an ineffectual fatso (viz. impetuously slamming a fire extinguisher into the noggin of his boss at one point) but in a pinch, he&apos;s quickwitted and moves with decision. (He also quite reasonably feels more secure in briefs than boxer shorts; I don&apos;t know what Adam&apos;s take on this issue was).

On the other hand, Anne Hathaway nails Agent 99 with a performance absolutely capturing Barbara Feldon&apos;s creation, right down to the tone of voice, the raised eyebrows, and at least three different dead-on intonations of &quot;Oh, Max!&quot; Nevertheless, Hathaway moves the character beyond the pre-feminist liberation era and invests 99 with a believable 21st century sexuality and sense of empowerment. She&apos;s clearly in charge during the first half of the movie, only slowly yielding to an appreciation of Carrell&apos;s growing sense of command (and her own feelings toward him) as we move into Act 3.

Alan Arkin brings an odd turn to the Chief, playing him with a much-less-exasperated fatalism than did Edward Platt. In an interview, Arkin says he saw the character as a very good principal of a very bad middleschool. He comes across as a somewhat old codger closing in on retirement who&apos;s comfortably in charge and doesn&apos;t try to micromanage, and he has an important role in the climax piloting a Cessna over Disney Hall downtown, but I missed one of the catchlines they didn&apos;t include in this revision: namely, the Chief getting one of his headaches. (The other catchline they left out was 86&apos;s frequent &quot;That&apos;s the second biggest (fill in the blank) I&apos;ve ever seen.&quot;)

Everything else was there, though: We see the Cone of Silence (technologically updated), a very clever CGI revision of the entrance passage to CONTROL HQ, cameos by both Hymie the Robot and Fang, and there&apos;s even a passing utilization in this cellphone-obsessed society to the shoe-phone (appropriated from the Smithsonian institution display of the old &quot;defunct&quot; CONTROL). On the other hand, the agency is now under the Homeland Security Department and answers to the Vice President (when they can find him) and uses lots of high-tech, satellite surveillance and GPS gear. Chaos is in cahoots with terrorist organizations around the world and we know they&apos;re bad because they drive around in SUVs (the most satisfying and &quot;green&quot; event is seeing one of Satan&apos;s Sedans being demolished by a freight train).

Oh, and BTW, it&apos;s also a love story.

This is the third trailer for Get Smart, directed by Peter Segal.

Get Smart: Trailer #3

https://m.media-amazon.com/images/M/MV5BMzAzMDAwMjQ3OF5BMl5BanBnXkFtZTgwNjkxMjQzMzE@._V1_.jpg

The new "Get Smart" does a masterful job of capturing the style, tone and humor of the '60s series, while transporting it into a modern sensibility. I had hopes for this film after seeing the two leads doing a 30-second skit on the Academy Awards show and thought they were dead on. So I invested $11.50 and was proved right.

First, this is no cheap knockoff. The production team captured Buck Henry's creation very credibly both in tone and substance. It reminded me very much of the late '80s homage to "Dragnet," which was executed with love and great attention to detail (right down to the product placement of Camel cigarettes and a photo of Jack Webb on the Dan Akroyd's desk). It's no small feat updating something as much a part of its era into a modern sensibility. There were even echoes of the early James Bond films (especially in The Rock's ladykiller character flirting with CONTROL's "Miss Moneypenny" and in some of the musical cues). On the other hand, the production values were all first-rate and contemporary, including a CGI effect of an aerial fly-around and push-in to a 747 that was reminiscent of the key shot in the pilot of Star Trek.

Steve Carrell makes a very reasonable Agent 86; where Don Adams played the character as a bumbling naif, Carrell makes him into a goodhearted wannabe who, despite having the kind of personality that renders him invisible in society, still has intelligence and an earnestness that can make him into hero material when he works at it. He reminded me of Jim Varney's portrayal of Jed Clampett: pure of heart and belief in his fellow man, yet with a bit of chops in dealing with the dark side of society. He fumbles around a lot getting his sea legs after years of being an ineffectual fatso (viz. impetuously slamming a fire extinguisher into the noggin of his boss at one point) but in a pinch, he's quickwitted and moves with decision. (He also quite reasonably feels more secure in briefs than boxer shorts; I don't know what Adam's take on this issue was).

On the other hand, Anne Hathaway nails Agent 99 with a performance absolutely capturing Barbara Feldon's creation, right down to the tone of voice, the raised eyebrows, and at least three different dead-on intonations of "Oh, Max!" Nevertheless, Hathaway moves the character beyond the pre-feminist liberation era and invests 99 with a believable 21st century sexuality and sense of empowerment. She's clearly in charge during the first half of the movie, only slowly yielding to an appreciation of Carrell's growing sense of command (and her own feelings toward him) as we move into Act 3.

Alan Arkin brings an odd turn to the Chief, playing him with a much-less-exasperated fatalism than did Edward Platt. In an interview, Arkin says he saw the character as a very good principal of a very bad middleschool. He comes across as a somewhat old codger closing in on retirement who's comfortably in charge and doesn't try to micromanage, and he has an important role in the climax piloting a Cessna over Disney Hall downtown, but I missed one of the catchlines they didn't include in this revision: namely, the Chief getting one of his headaches. (The other catchline they left out was 86's frequent "That's the second biggest (fill in the blank) I've ever seen.")

Everything else was there, though: We see the Cone of Silence (technologically updated), a very clever CGI revision of the entrance passage to CONTROL HQ, cameos by both Hymie the Robot and Fang, and there's even a passing utilization in this cellphone-obsessed society to the shoe-phone (appropriated from the Smithsonian institution display of the old "defunct" CONTROL). On the other hand, the agency is now under the Homeland Security Department and answers to the Vice President (when they can find him) and uses lots of high-tech, satellite surveillance and GPS gear. Chaos is in cahoots with terrorist organizations around the world and we know they're bad because they drive around in SUVs (the most satisfying and "green" event is seeing one of Satan's Sedans being demolished by a freight train).

Oh, and BTW, it's also a love story.

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