"Austin Powers in Goldmember" opens up with perhaps the most technically-ambitious, demanding and funniest gag in the entire history of this Jay Roach-directed, Mike Myers-starring comedy trilogy. It’s a star-studded, cameo-heavy mini-masterpiece that I wouldn’t even dream of spoiling for the few of you reading this who haven’t seen (or haven’t been told) about it. It sets the expectations for "Goldmember" sky-high, and unfortunately the movie doesn’t have anything else that comes even lose to matching the hilarious lunacy of the film’s opening four minutes. Like the "Pink Panther" series it openly emulates, Austin Power’s cinematic adventures seem to be getting bigger and louder without necessarily being funnier.

Like in 1999’s "The Spy Who Shagged Me," the diabolical Dr. Evil (Myers) and his trusted sidekick Mini-Me (Verne Troyer) travel back in time to the 1970’s to cause irreparable harm to their arch-nemesis Austin Powers (Myers again). Instead of being after Austin’s mojo though, the bad guys want to kidnap the swinging agent’s father Nigel Powers (Michael Cain) in order to sideline Austin long-enough for Dr. Evil to take over the world. To that effect a new criminal ally’s been recruited to help Dr. Evil’s plans, a certain Dutch swinger named Goldmember (Myers again). Unfortunately Goldmember is the least interesting and unfunny character to ever appear in an Austin Powers movie; returning Dr. Evil henchman Fat Bastard (Myers yet again!) is a better-developed and better-exploited comedic foil than the character whose name appears in the movie’s title. Myers apparently stretched his heavily made-up comedic skills one character too many this time around.

The regular troop of recurring "Austin Powers" characters (Basil Exposition, Number Two, etc.) are yet again played by the same actors and remain fun to watch. Except for Troyer’s Mini-Me though (who is hysterical as Austin’s newfound sidekick after Dr. Evil dumps him), their chances to shine or be memorable are considerably diminished by the exorbitant amount of screen time occupied by Myers on any of his roles. The new lady fighting the good fight alongside Austin Powers, Foxy Cleopatra (Beyonce’ Knowles), is absolutely horrible and totally unappealing. Her perpetually poe’d grin and angry face make the so-called naughty scenes between her, Michael Caine and Mike Myers uncomfortable to watch, and her comedic timing is about as good as her singing (that means ‘nonexistent’ for those of you who haven’t gotten my drift yet). Caine phones in his performance, never even attempting to lift a finger to try to help Myers lift the comedy in "Goldmember" above sporadically amusing.

Unlike the two prequels, in which Austin had outstanding straight men (or, ah, women) to work with, Myers has to carry the film almost single-handedly by his lonesome self this time around. Once a series with the most incisive series of jokes aimed at the heart of the James Bond myth, "Goldmember" becomes a jack of all trades in its quest to find things to satirize and/or make fun of. Some, like the "West Side Story" parody, are total bombs. Others, like the jailhouse ‘Hard Knock Life’ rap with Dr. Evil and Mini-Me and the ‘Fook’ sisters, are hilarious but rehashed gags from the "Austin Powers" prequels. Where "Goldmember" really hits its stride is when it pokes fun at specific films of the era. From 1968’s "You Only Live Twice" (the Fat Bastard backstage Sumo wrestling fight, the Japanese headquarters of the baddies) to "The Italian Job" (which also starred Michael Caine) and the hard-to-read white fonts of English subtitles in foreign movies, the film provides a few moments of inspired lunacy that standout from the rest.

Dr. Evil’s ‘freaking sharks with laser beans,’ for example, are a joke so specific that only those that heard the DVD commentary track of the first "Austin Powers" movie will get it. Don’t even think of skipping an opportunity to rent or borrow somebody else’s DVD copy of "Goldmember" though. It’s got enough laughs, deleted scenes and sharp technical specs (comparable to those of New Line’s Special Extended Edition of "Lord of the Rings") to almost, almost make you forget that the movie isn’t anywhere near as funny as "International Man of Mystery" or "The Spy Who Shagged Me" prequels. Unless you’re mad about Myers’ ability to lose himself into his manic creations, rent "Goldmember" and enjoy its limited appeal the way it was meant to be experienced: in short (and spaced-out) doses.

1/2