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 <firstname.lastname@example.org>
When first introduced as a bagpiper, Fat Bastard plays passages from two songs which are proud symbols of Scottish cultural identity: Scotland the Brave and Loch Lomond. See more »
Woody Harrelson makes a cameo as his adult self in a 1969 scene, at which time he would have been eight years old. 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 »
When the movie aired on TBS, the scene where Austin says, "This coffee tastes like sh*t" was edited slightly. The swear-word was replaced with "poop." See more »
The first Austin Powers movie was a shot-in-the-dark comedy Michael Myers pretty much made for himself and a few friends, little imagining the fuss it would spawn. This time, Myers and his alter egos set out to build a middle-brow entertainment franchise. At least they got the money part right.
After spending the first movie adjusting to life in the 1990s, superspy Austin Powers (Myers) is pulled back into his native 1960s to save his mojo from the evil Dr. Evil (Myers), who has stolen it with the help of traitorous Scot Fat Bastard (Myers). Will Austin save his mojo, and not incidentally, the world?
While not as satisfying or clever as the first Powers film, "Spy Who Shagged Me" does make you laugh, especially the first time you see it. Fat Bastard is a terrific new addition to the Powers tribe, a nasty self-worshipping slob who wears a metric ton and has an appetite that is boundless, morally as well as physically.
"Listen up, Sonny Jim, I ate a baby!" FB declares. "Baby: The other, other white meat!"
Also great is Verne Troyer as Dr. Evil's stunted replicant, Mini-Me. Troyer's tiny stature makes for a good initial guilty laugh, but Troyer throws himself into the role with the same kind of abandon and hidden talent Myers employed in the first film. Mini-Me's confrontations with Dr. Evil's biological son Scott (Seth Green) is an entertaining subplot throughout.
Myers himself is a bit of a mix. As Fat Bastard, he is about as funny as he's ever been on screen. As Austin and Dr. Evil, he's a little too much too often. Dr. Evil seems to be after laughs from the MTV Music Awards crowd, mocking rap videos and repeating old gags like telling Scott to be quiet (this time with the catch phrase "Zip it" rather than "Shh...") Austin is a grab bag of catch phrases, interspersed with the occasional double entendre, like when his latest lady, Felicity Shagwell (Heather Graham), notices he activates his apartment lights by clapping his hands.
"When did you get the clapper?" she asks.
"November, 1964, Dutch East Indies, shore leave," he replies.
Graham is beautiful to look at but a bit of a damp noodle otherwise, which goes for much of "The Spy Who Shagged Me." Sure, you have the clever set design, costumes, and music that the original "Austin Powers" had in spades, but the heart of the enterprise is missing here. Austin throws off one after another of his merchandise-ready puns, and it's hard not to enjoy it in fitful bursts. But it doesn't linger like the first film.
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