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Austin Powers in Goldmember

Austin Powers in Goldmember (2002)

July. 26,2002
| Comedy Crime Science Fiction

The world's most shagadelic spy continues his fight against Dr. Evil. This time, the diabolical doctor and his clone, Mini-Me, team up with a new foe—'70s kingpin Goldmember. While pursuing the team of villains to stop them from world domination, Austin gets help from his dad and an old girlfriend.


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Wonderfully offbeat film!


Overrated and overhyped

Allison Davies

The film never slows down or bores, plunging from one harrowing sequence to the next.


Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

Troy Putland

Goldmember completes the Austin Powers franchise with little more than a nod to the 1st and 2nd films. The story's recycled again, Dr. Evil (Myers) insists on world domination, Austin Powers (Myers) awkwardly saves the day. It's not rocket science. Myers is up to his usual tricks; Evil garners the most laughs and Powers is, well, Powers. Mini Me gets the discriminated, but they're still just as funny. The 3rd installment sees two new inclusions, Beyonce Knowles's Bond-esque girl Foxxy Cleopatra, who lacks the emotional pull that Heather Graham had, and Michael Caine as Austin Powers' father, Nigel Powers, who fits his role suitably. Myers' Goldmember and the returning Fat Bastard fair less better. Still, Myers carries on doing what he does best, and that's making (most) viewers laugh.Check out my other reviews on http://straighttelling.co.uk


Mike Meyer's three Austin Powers flicks parody James Bond and the swinging 60s-70s. They are as follows: "Austin Powers: International Man of Mystery" (1997), "Austin Powers: The Spy Who Shagged Me" (1999) and "Austin Powers in Goldmember" (2002). What's interesting about these films is that Austin Powers (the character) is not a full spoof of 007 as he's his own character, just with Bond-like qualities.Anyway, I wasn't sure I wanted to review any these flicks because, by doing so, I'm admitting that I actually watched them (lol)! I say this because they're so goofy, juvenile, silly, sometimes raunchy (more verbally than pictorially) and filled with toilet humor. So I was never a fan and didn't even watch any of them until 2009. What turned me off? Besides the toilet humor and raunch, Powers (the character) seemed to have a gayish quality despite being a renowned ladies man in the stories. A good example is when he says, "Oh, beHAAAve," which never struck me as funny, just gay.I've since seen all three twice and, despite my reservations about Powers and distaste for toilet humor, I do enjoy the zaniness and stoo-pid humor. If you can catch a grip with these films they're laugh-out-loud funny about a third of the time, sometimes more depending on the movie."Goldmember" is my second favorite of the trilogy behind "The Spy Who Shagged Me." It has the best opening, by far, with unexpected cameos and the first half is often laugh-out-loud funny. If it kept up the laughs it would've taken first prize, but the second half loses its mojo, while still being likable and amusing. Beyoncé takes the place of Heather Graham as Austin's babe while Fred Savage plays Number Three and Michael Caine appears in a pretty significant role.Best quote: "Riiiiiiigggghhhttt." The film runs 94 minutes and was shot in Southern California; Reno, Nevada; Moab, Utah; and England.GRADE: B


"Austin Powers in Goldmember" brings the curtain down on a mostly unremarkable series, something which exploded into life with an often funny spoof of spy films whose most interesting parts were when it juxtaposed life in the 60's with life in the 90's via subtle montages. It gave way to a sequel which ought not ever even existed such was its often intolerably lax nature, but Goldmember is a film which, to an extent, brings the franchise back. This is very much the sequel "The Spy Who Shagged Me" should have been, with Elizabeth Hurley's character from the first one perhaps returning to fill the role of the female accomplice; the time travel element removed and everything else remaining the same. Distancing itself from its roots was a brave thing for Goldmember to do, but distancing itself from the likes of the 1999 sequel was almost mandatory – thus, Jay Roach's 2002 second sequel is here stuck in a precarious position although just about manages to find a way out of it.The film will begin loudly and bombastically, in a manner that suits most fatuous Hollywood action movies, via its aesthetic and general content. For a franchise to be synonymous with the Bond films, I view this as a slight on more contemporary entries and how devoid of character and charm they are in the opinion of the makers: spoofing Oddjob and the idea of a hunched, cat stroking villain in a swivel chair is good fun out of the fact these people and their characteristics are so distinct and charming – fast-forward to what we're expected to spoof through the likes of "Tomorrow Never Dies" or "The World is Not Enough" and much is lost. How are you meant to riff on something which is so action orientated and without the sort of soul evident in the films of the 60s? But the film is not even a "The Player" take on what goes on behind the backlots of Los Angeles, filthy money grabbing cameos-and-all. Nay, for what we get is yet another entry which appears to be bored of Dr. Evil as the villain (before changing its mind); appears to be bored of the 60's and thus sees the 70's as an ideal setting (before changing its minds for the 2000's) and wants to throw in this quasi-deep father/son relationship subplot which, around all the action and in true "Last Crusade" style, is meant to see us all sigh in recognition that two men of the same name finally come together and accept each another.The chief difference in this third film compared to the others lies with its villain, Mike Myers' own Goldmember, a send up of 1964 smash Bond hit "Goldfinger". But where's the sense in sending up one of the most loved; most cherished Bond villains, about whom mostly nobody has anything nasty things to say? Spoofs are supposed to send up the relatively unloved; the often derided, the derivative and the easily mocked. Here, Goldmember is a world-hating; skin flake consuming abomination of a much admired former villain who speaks mock-Dutch and has suffered genital pratfalls. For a while, and with Myrers' other creation Dr. Evil behind bars, it looks like things are heading in the sorts of fresh directions with this fresh villain and the time setting of the 70's which was sorely required three years earlier. Alas, the film welches and it isn't long until we're back into a familiar groove whereby an African American character called Foxy Cleopatra (Knowles) is filling the female void whilst paying homage to a movement of films the target audience won't even have heard of. At one point, Knowles' character (herself an agent) is brought forward to the then present of 2002 – how does she react to this revelation? Why, by laughing at an Internet video of a monkey falling off a tree.I read somewhere that Myers based his performance of Powers on that of Michael Caine's in his 1966 breakthrough role "Alfie" – look closely at Powers in that first one and you will see scraps of Caine's Harry Palmer character as espionage and British spy films of the 60's are parodied. I mention this out of the fact Caine appears in this entry as Nigel, Austin's father. In a franchise that needed to expand, Caine's suave take on a former top agent and the material they give him is, admittedly, somewhat amusing. The way in which he points out how useless anonymous henchmen often are when the time comes for them to take on the hero in these sorts of films not only cracks a good observational joke but tees up further changes another character will undertake when Nigel's capabilities in psychological warfare are applied.Social critique was never the reason anyone tuned in to an Austin Powers film, but that doesn't mean there weren't instances of it in previous entries. Here, an amusing 'dance off' between Powers (with his group of 60s go-go dancers) and Britney Spears highlights an inherent clash in attitudes towards music of the then-and-now. Through Spears, we observe the highly provocative and heavily sexualised route contemporary popular music has undergone over the decades. Her backup singers are topless, everybody's clothing is black and leather invoked – things are much more aggressive. On the other side of the stage, Myers initiates a mock-fisticuffs session with Spears wherein his clothed, bubble-gum and seemingly normal troupe of flower-power girls and boys do battle to a thumping musical soundtrack as these two very distinct eras of music and attitudes towards dancing and music play out. The sequence isn't anything important plot-wise, but it's one of the best of the trilogy and proof that there is something at the centre of the whole Austin Powers idea which was always there, but just never quite tapped into. The film, like the series as a whole, is colourful and energetic but ultimately a bit drab and often inconsequential.


Surprisingly, this was my favorite Austin Powers movie out of the series while it seems to be the least favorite of everyone else.Many of the jokes are rehashed, and while funny, were still not as funny as the first time they are used. Despite this, I feel this movie came up with a decent amount of new jokes and stupid circumstances which I thought were incredibly hilarious.The acting was once again good enough for what the movie achieved.I think that this was a fitting end for the conclusion of the series. The jokes about Austin Powers are definitely reaching their end, but I think that this series gave enough good laughs for it to be worthy to watch by someone who hasn't seen it before.