British intelligence warns Austin that one of Dr. An obese "Scottish Guard" called Fat Bastard extracts Austin's mojo from his frozen body at the Ministry of Defence Cryo Chamber. Evil and Mini-Me travel to 1969 and meet a younger Number Two and Frau Farbissina. Evil unveils his latest evil plan: he has developed a time machine to go back to the 1960s and steal Austin's mojo, the source of Austin's sexual appeal. Evil is presented with a one-eighth-size clone of himself whom he calls Mini-Me.ĭr. Evil, confronting his son Scott, and then starting a riot, on The Jerry Springer Show, and informs British intelligence. A NATO monitoring facility observes the return of Dr. Austin grieves briefly, then suddenly realizes that he is single again, which he celebrates by streaking through the hotel. Evil's fembots, who attempts to kill Austin, then self-destructs. I just hope Jay Roach and crew can learn something and get back to basics, maybe we’ll see a humorous WWII film instead.In 1999, Austin Powers is enjoying his honeymoon with his wife, the former Vanessa Kensington. Heck, if you want to poke fun at the 60’s, stick Austin in a beach film, or even a Felinni-esque art film, or intrigue and police drama, try watching the French Connection or Bullitt. Well, unfortunately, this film’s success has spawned a third installment, hopefully they return to the freshness and uncompromised humor of the first film rather than retread the stuff of the second. Evil singing "Just The Two Of Us." This and the appearance of Verne Troyer, as Mini-Me, in just about everything has turned a good draft script and original concept into an annoying pop billboard. He most godawful example of fawning to marketing and the expected teeny-bopper audience is the musical sequence of Dr. This may sell albums, but it doesn’t make for a great addition to a library of filmmaking. It’s a painful display of how not to add music to a film. Most of the artists stuck on this "songtrack" have a new album to push or a career to start or resurrect. The most out of place would be the teaming of Elvis Costello and Burt Bacharach, both of which are great songsmiths, but drags the film to a grinding halt right smack in the middle. In this film, even Quincy Jones’ original "Soul Bossa Nova" seems trite and out of place.
Clinton’s score was to Austin Powers as anything John Barry could write for a James Bond film or even John Williams and Star Wars, a perfect fit.
Even the made for movie band of Ming Tea, with Suzanna Hoffs of The Bangles and Matthew Sweet, their song of BBC added that extra pinnace needed to truly set the film as a 60’s parody. Scenes such as the battle between Austin and the Fembots without the Divynyl’s "I Touch Myself" would never have been as funny with any other piece of music.
In the past, the music from Austin Powers seemed to actually add to the film, seamlessly adding another dimension to the film. What was clever and inventive in the first Austin Powers film is trite and poorly presented in this episode. As for the soundtrack, in general, I’m equally disappointed to its stoop into crass commercialism, not unlike the film itself. I have never been let down as much by a film as I have with this movie: I actually walked away depressed after viewing it opening day. This sequel should have been called Austin Powers: The Hype Strikes Back.