Popular Broadway actor Gary Johnston is recruited by the elite counter-terrorism organization Team America: World Police. As the world begins to crumble around him, he must battle with terrorists, celebrities and falling in love.
Dr. Evil uses a device he calls a "Time Machine" to travel back to 1969 and remove Austin Powers' mojo. The sexually wounded swinger must travel back in time and, with the help of agent Felicity Shagwell, recover his vitality. Meanwhile, Dr. Evil's personal life runs amok as he discovers love, continues to shun his son and develops a close relationship with himself. Well, actually, a clone 1/8 his size whom he dubs "Mini-Me". The always time-baffled Dr. Evil begins his plan to put a gigantic cannon on the moon, thus turning it into a device called either "The Death Star" or "Alan Parson's Project," depending on which name is available. Written by
Michael "Rabbit" Hutchison <email@example.com>
In the previous film, Number Two betrayed Dr. Evil and was incinerated. He obviously survived (much like Mustafa did; and judging from the burn on his face) but it is very unclear how and why he became faithful to Dr. Evil again. He didn't fully support Dr. Evil before his betrayal and Dr. Evil tried to kill him, hence this being one of the biggest potholes between the two films. See more »
Austin Powers, International Man of Mystery, was frozen in 1967 and defrosted in the Nineties to battle his nemesis, Dr. Evil. After foiling his archenemy's plan to send a nuclear warhead to the center of the earth, Austin banished Dr. Evil to the cold recesses of space and settled down with his new wife, Vanessa, to live happily ever after. Or so he thought.
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The "Elizabeth Hurley as Vanessa" credit (in the opening credits scene) appears AFTER her only scene in the film. See more »
Fair Spoof of James Bond, but Not as Good as the First
This movie is best known for introducing Mini-Me, Dr. Evil's pint-sized clone, to the world, and afterword launched a thousand pop culture references, which also included an incessant barrage of Austin Powers and Dr. Evil impersonations of wildly varying quality both on television and in everyday conversation with one's friends and acquaintances. After the mediocre "Goldmember" installment had left the theaters, Austinmania thankfully died down, and hopefully we've heard our last "Groovy, baby!" for a long time. It was a catchphrase more annoying than "show me the money!" Anyway, with all that said, is "Austin Powers II" really worth all of the extreme amount of hype and imitation it produced?
Mike Myers has an unenviable job of playing three important roles at the same time. He proved he is a master of performing bizarre and hilarious characters during his tenure on the skit comedy show "Saturday Night Live". The problem is his wacky, off-the-wall characters do not hold up well for a feature-length movie. Asutin Powers, the character, is a rather odd parody of James Bond, a hybrid of Bond, a "Swingin' Sixties" Mod hipster, and Maxwell Smart (in his goofy ineptness). Powers' catchphrases and jokes wear out their welcome very quickly, as does the sexual humor and sight gags involving Powers (which also proliferated the first movie). These gags and catchphrases, as well as Power's playboy persona, bore rather than entertain. The writers run the gags into the ground, and insult the audience's intelligence with the assumption that a crude sex gag done millions of times will always be funny. They are trite and unoriginal, and are the movie's greatest hindrance. The Austin character, in spite of his fiery, lustful mannerisms, is the blandest of the three characters Myers performs. He just rams this trite stock character into the ground.
Dr. Evil, on the other hand, is eccentric, silly, and over-the-top evil enough never to wear out his welcome. Like any comic character, bizarre, childlike and surreal characterizations are always more fun to watch than trite parodies of stock characters who rely on shock humor and boring catchphrases. Rather than do a straight parody of a maniacal supervillain, Myers makes Dr. Evil a very original and odd villain by making him as goofy and strange as possible. Evil's idiosyncrasies are what make him the star of the movie. The Dr. Evil moments are the funniest. Of the three characters, Evil is Myers's best.
Dr. Evil's fat Scottish henchman (whose name cannot be mentioned because it is an obscenity) is simply a framework on which to tack on crude shock humor and fat jokes, which grow boring really quickly and insult the viewer's intelligence. Amplified grossness does not equal amplified humor, which is a lesson the filmmakers of the Austin Powers series do not take in stride. The Scotsman does have his humorous moments, such as his hilarious "Sexy Man" song to Felicity during an awkward scene, but mostly his goofy charm is lost in a scene of pre-programmed flatulence recordings and pastel-colored pig slop. He is the least interesting of Myers's characters.
Some will apparently compare Mike Myers's triple performance to Peter Sellers's roles in "Dr. Strangelove." There is no comparison. Sellers was a master actor who brilliantly channeled his oddball characters in a dark, subdued and intelligent dark comedy with little, if any, toilet humor. Myers's strengths are performing goofy characters in ten minute skits; beyond that, he pushes his talents to their utmost limits. He performs wildly off-the-wall weirdos in a flashy, expensive, glossy parody filled to the brim with toilet humor. His efforts are uneven at best.
And what of Mini-Me, the unsung, unknown legendary Verne Troyer? He does well as the mute, yet ravenous Dr. Evil clone, but chose to make Mini-Me a diabolical, sadistic henchman rather than a smaller version of Dr. Evil. He is very funny in this role, and is, after Myers, the star of this movie. He holds his own in this role, but I think the fame of the Mini-Me character far outshines anything in this otherwise fair comedy. It's not a classic of the genre, but it is an excellent example of hype and publicity gone amok to the point where pop culture icon status is given to something that doesn't really deserve it.
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