Austin Powers: The Spy Who Shagged Me
| Year: | 1999 |
| Director: | Jay Roach |
| Producer: | Suzanne Todd/Jennifer Todd/Demi Moore/Mike Myers |
| Writer: | Mike Myers |
| Cast: | Mike Myers, Heather Graham, Robert Wagner, Will Ferrell, Rob Lowe, Seth Green, Verne Troyer, Mindy Sterling, Michael York, Gia Carides, Clint Howard, Jennifer Coolidge, Elvis Costello, Burt Bacharach, Woody Harrelson, Tim Robbins, Rebecca Romijn-Stamos |
A few steps down from the original, but true to the mood of absurdity the Austin Powers mythology comes with.
Dr Evil (Myers) is back from being frozen in space (turning up on Jerry Springfield in one of the funnier sequences in the film) and devises a time machine to travel back to the 1960's to teal Austin's mojo and thus render him useless in the present.
Teaming up with CIA agent Felicity Shagwell (Graham), Austin (Myers) goes back in time to stop his bald nemesis, who's not only finally given his wayward son Scott the brush off in favour of one eight-sized a clone of himself, Minime (Troyer) but enlists the help of the most disgusting assassin in movie history, Fat Bastard (Myers).
The plot is secondary however to the many gags, some of them obviously ad libbed – especially several between Myers and old cohort Sterling, and Myers' knowledge of popular culture weighs in heavily and makes it a very enjoyable experience and a lot of laughs. Some of it's extremely puerile (in fact none of the jokes attain what you'd call high comedy), but it's all easy to digest.
Dr Evil (Myers) is back from being frozen in space (turning up on Jerry Springfield in one of the funnier sequences in the film) and devises a time machine to travel back to the 1960's to teal Austin's mojo and thus render him useless in the present.
Teaming up with CIA agent Felicity Shagwell (Graham), Austin (Myers) goes back in time to stop his bald nemesis, who's not only finally given his wayward son Scott the brush off in favour of one eight-sized a clone of himself, Minime (Troyer) but enlists the help of the most disgusting assassin in movie history, Fat Bastard (Myers).
The plot is secondary however to the many gags, some of them obviously ad libbed – especially several between Myers and old cohort Sterling, and Myers' knowledge of popular culture weighs in heavily and makes it a very enjoyable experience and a lot of laughs. Some of it's extremely puerile (in fact none of the jokes attain what you'd call high comedy), but it's all easy to digest.