I’ve put forth a theory before that the "Hollywood alien movie" is the most reflective genre of America’s military-industrial complex. In short terms: when the federal government nears a zenith of trust and efficiency (1960s, 1990s) alien movies are routinely about government employees saving the day. And when people are feeling rather low on their government (1970s, 2000s), alien movies are more personal, civilian and disaster-prone. This is the difference between “Independence Day” and “Men in Black” verses the post-9/11 counterparts, “War of the Worlds” and “Signs.” While the third “Men in Black”—in a rather inconsistent trilogy—offers nothing new cinematically, it at least hypothesizes that the nation has turned a corner in the last eight years.
