6.1
Viewer Rating
Combines user and critic ratings from four sources
Austin Powers: The Spy Who Shagged Me (1999)
Austin Powers: The Spy Who Shagged Me (1999)
Overview
When diabolical genius Dr. Evil travels back in time to steal superspy Austin Powers's ‘mojo,’ Austin must return to the swingin' '60s himself - with the help of American agent, Felicity Shagwell - to stop the dastardly plan. Once there, Austin faces off against Dr. Evil's army of minions to try to save the world in his own unbelievably groovy way.
Starring Cast
Where to watch
Rating & Dimensions
Bias Rating
Analyzing...
Traditional
Political: Center
Diversity: Low
LGBTQ: Negative
Trans: Negative
Viewer Rating
6.1
Overview
When diabolical genius Dr. Evil travels back in time to steal superspy Austin Powers's ‘mojo,’ Austin must return to the swingin' '60s himself - with the help of American agent, Felicity Shagwell - to stop the dastardly plan. Once there, Austin faces off against Dr. Evil's army of minions to try to save the world in his own unbelievably groovy way.
Starring Cast
Where to watch
Detailed Bias Analysis
Analyzing...
Traditional
Primary
The film is a comedic parody of spy thrillers, with its central conflicts revolving around a cartoonish villain's world domination plots and the hero's personal quest for his 'mojo.' Its themes are overwhelmingly apolitical, focusing on humor, character dynamics, and genre tropes rather than promoting any specific political ideology.
The movie features a predominantly white main cast with no intentional race or gender swaps of traditionally white roles. Its narrative centers on a white male protagonist and does not explicitly critique traditional identities or incorporate DEI themes as central to its plot.
Secondary
The film uses effeminate male characters, particularly Mustafa, as sources of comedic ridicule. While not explicitly identifying characters as LGBTQ+, the humor derived from their non-traditional masculinity contributes to a problematic depiction. This portrayal relies on stereotypes, presenting these characteristics as subjects of mockery rather than with dignity or complexity.
The film features a character whose gender presentation is used for comedic effect, with a reveal that plays on shock and disgust. While not explicitly a transsexual character, this depiction contributes to a problematic portrayal by reinforcing negative stereotypes about gender non-conformity and using it as a source of mockery.
The film features female characters like Felicity Shagwell and Ivanna Humpalot who participate in action sequences. However, their engagements with male opponents primarily involve firearms or comedic struggles, not clear victories achieved through skill, strength, or martial arts in close-quarters physical combat.
All returning characters from the previous installment maintain their established gender. New characters introduced in this film do not have a prior canonical gender to swap from, thus no gender swaps occur.
This film is a sequel in an original comedy series. No established characters from prior installments or source material had their race changed. New characters introduced in this film do not qualify as race swaps.
Viewer Rating Breakdown
User Ratings
6.7
6.3
Critic Ratings
5.4
5.9
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