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In Like Flint (1967)
Flint is again called out of retirement when his old boss finds that he seems to have missed 3 Minutes while golfing with the President. Flint finds that the President has been replaced by an actor (Flint's line [with a wistful look] is "An Actor as President?") Flint finds that a group of women have banded together to take over the world through subliminal brainwashing in beauty salons they own.
Flint is again called out of retirement when his old boss finds that he seems to have missed 3 Minutes while golfing with the President. Flint finds that the President has been replaced by an actor (Flint's line [with a wistful look] is "An Actor as President?") Flint finds that a group of women have banded together to take over the world through subliminal brainwashing in beauty salons they own.
The film's central conflict portrays a radical feminist plot to establish a matriarchy as a dangerous threat, which is ultimately defeated by a traditionally masculine hero, thereby reinforcing the existing male-dominated order and traditional gender roles.
The movie features primarily traditional casting with no explicit race or gender swaps of established roles. Its narrative maintains a neutral to positive portrayal of traditional identities, without incorporating significant DEI themes.
The film 'In Like Flint' contains no discernible LGBTQ+ characters or themes. Its narrative focuses on heterosexual relationships and traditional gender roles prevalent in 1960s spy thrillers, resulting in no LGBTQ+ representation.
The film 'In Like Flint' does not feature any identifiable transsexual characters or themes. Its narrative centers on a spy adventure and satirical gender dynamics of the era, without engaging with transgender identity or experiences.
The film features female characters, primarily as agents of the SPECTRA organization. While these characters are involved in the plot and attempt to subdue male characters, their methods typically involve gas, tranquilizer darts, or other technological means rather than direct, close-quarters physical combat victories against male opponents.
This film is a sequel featuring original characters established in the preceding movie. There are no instances of characters who were canonically, historically, or widely established as one gender being portrayed on screen as a different gender.
This film is a sequel to an original spy film series. Its characters were created for these films and do not have prior canonical or historical racial establishments that differ from their on-screen portrayals. Therefore, no race swap occurred.
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