We watch several movies a week. Every Friday, we'll talk a little about some of the movies we watched that we felt were Worth Mentioning.
Bond-inspired comedy, some horror, and Fox in the wild.
AUSTIN POWERS: INTERNATIONAL MAN OF MYSTERY (1997)
Mike Myers is the Canadian son of two British immigrants, and has said that his parents continued to watch British films and television obsessively while living in Canada. All that England-themed entertainment Myers grew up watching with his parents, and the James Bond films in particular, served as the inspiration for Austin Powers: International Man of Mystery. Austin Powers was such a massive hit, it clearly appealed to a much wider audience than just the movie-goers who would understand the references, but I think it does enhance the viewing experience if you are very familiar with the Bond movies, especially the Sean Connery era.
Played by Myers, Austin Powers is a famous British photographer who also happens to be the greatest spy working for British Intelligence, "irresistible to women, deadly to his enemies". He has bad teeth, but that never hindered his appeal, and he sports a thick coat of fur on his torso, like Sean Connery. Powers is a major thorn in the side of a cat-stroking madman called Dr. Evil, who is also played by Myers and looks just like the Donald Pleasence version of Blofeld in You Only Live Twice, although he talks like Saturday Night Live producer Lorne Michaels. Bent on world domination and/or destruction, Dr. Evil is the head of an organization like S.P.E.C.T.R.E. and even hosts meetings like the one seen in Thunderball, where Blofeld could kill disappointing lackeys with the push of a button.
Tired of being thwarted by Powers, Dr. Evil has himself cryogenically frozen in 1967, leaving orders that he be thawed out when free love has been overcome by greed and corruption. So he gets thawed out to continue his reign of terror in 1997 - but, unfortunately for him, Powers was also frozen so he could be thawed out to take Dr. Evil on again. So we get a comedy that mixes Bond spoofing with "fish out of water" humor, as Powers finds that the world has changed since the psychedelic, promiscuous '60s. Plus you get some literal toilet humor on a couple different occasions.
Powers doesn't put much effort into changing, he doesn't even change his clothing style. However, he starts to grow fond for her partner on this mission, Elizabeth Hurley as Vanessa Kensington (who happens to be the daughter of his '60s partner, played by Mimi Rogers), and that starts to give him a reason to change. When he's not busy fighting Dr. Evil's assassins and trying to stop the villain's plan to hold the planet hostage with a nuclear warhead.
I have to admit, as the years and sequels went on, my appreciation for Austin Powers cooled down and I started to find the character annoying, but I really enjoyed this first installment in the franchise, especially any time it was obviously playing with something that was introduced in a Bond movie. Dr. No, From Russia with Love, Goldfinger, Thunderball, You Only Live Twice, On Her Majesty's Secret Service, Diamonds Are Forever, A View to a Kill, you can see a bit of each of those in here, with characters who are based on Bond characters like Robert Wagner's Number 2, Fabiana Udenio's Alotta Fagina, Mindy Sterling's Frau Farbissina, and Joe Son (now in prison for a seriously awful crime) as Random Task.
My least favorite parts of this movie were always the scenes dealing with Dr. Evil's modern teenager son Scott (Seth Green). I never found that very amusing, and since Blofeld never bickered with a son it was too much of an aside for me. I just wanted to see more Bond jokes.
BELOW (2002)
ROGUE (2020)
With the action thriller Rogue, Megan Fox was aiming to prove that she could convincingly play a mercenary who has been "forged hard" from being in The Suck and other gnarly places - and she did pull it off, I didn't have any issues with her performance in the role of mercenary team leader Samantha O'Hara. The only issue I would really point out about Rogue is some clunky dialogue, but how great do you expect the dialogue to be in a movie like this?
Directed by MJ Bassett from a screenplay she wrote with her daughter Isabel, the movie tells the story of mercenaries who have been hired to rescue a young girl named Asila Wilson (Jessica Sutton) from a group of militant human traffickers / poachers in the African wilderness. Asila's a big deal because she's the daughter of a governor, she's the person the mercenaries are being paid to rescue. When O'Hara sees that there are two other girls (played by Calli Taylor and Isabel Bassett) being held in cages with Asila, she intends to just leave the other two - escaping with three girls is riskier than escaping with one, and they don't get any money for the other two. But the other members of the mercenary team aren't forged quite as hard as O'Hara, so they end up leaving the militia base with three teenagers.
Rogue kicks off with quite a lengthy action sequence, the raiding of the militia base followed by a chase through the countryside, with bullets flying everywhere. The militia continues tracking the mercenaries and teens for the rest of the film, but the action settles down for a while once our heroes reach an abandoned farm. It settles down until they realize this farm was run by poachers who were breeding lions, and now the ravenous lions are loose on the property. So this action movie also has a heavy dose of "nature run amok" thrills to it as well; not only do the characters end up being stalked and attacked by lions, but there's also a crocodile attack in the mix.
Fox's attempt to be taken seriously as a hard-edged action heroine, a successful attempt as far as I was concerned, was bolstered by a solid supporting cast. Her fellow mercenaries are played by the likes of Philip Winchester, Greg Kriek, Kenneth Fok, Brandon Auret, Sisanda Henna, and Lee-Anne Lienbenberg, and there are some strong performances from the group that make us like and care about these people. There's also, very unexpectedly, a running gag about a Backstreet Boys song in the middle of all this.
BASKET CASE (1982)
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