Lovesusti The Worst Film Ever

Smartorhypo Highly Overrated But Still Good

Fairaher The film makes a home in your brain and the only cure is to see it again.

Zlatica One of the worst ways to make a cult movie is to set out to make a cult movie.

brefane Parts Queen of Outer Space and Deadlier Than the Male, this sluggish and shoddy film reaches it's peak in pre title titillation thanks to the opening montage and titles credited to Richard Kuhn and National Screen Service. That and Jerry Goldsmith's fetching score are the only pluses here. Jean Hale who made an impression opposite Stephen Boyd in The Oscar is given nothing of interest to say or do and as an adversary to Coburn's Flint she's like a firm, but polite flight attendant. Lee J. Cobb is featured as much as Coburn's Flint who's busy with dolphins and the ballet. Coburn is not traditionally handsome and isn't believable as someone women would find as irresistible as the dialog often alludes to. And for a spoof the film is silly rather than amusing or witty. It's easy to see why this film ended the series. The inane plot could be funny like Revenge of the Stepford Wives, but Gordon Douglas' direction and the special effects are on a par with TV's Gilligan's Island and Lost in Space respectively, and the ultimate effect is flat and dull and the same could be said for most of the cast including James Coburn whom I've liked before and since this film. There's no conflict or tension, sexual or otherwise in this dull, camp misfire. Roger Ebert gave this turkey 1 and a 1/2 stars out of 4; chalk it up to generosity.

Woodyanders This follow-up is much goofier and sillier than the original, but still every bit as amusing and entertaining. This time hip, clever, and dashing freelance spy and playboy extraordinaire Derek Flint (James Coburn in splendidly wry and laid-back assured form) must thwart a dastardly plot by a gang of lovely, yet formidable ladies who have developed a method of brainwashing so they can put arrogant and domineering men in their place and thus take over the planet. Director Gordon Douglas, working from a bright and witty script by Hal Fimberg, relates the delightfully wacky narrative at a steady pace, maintains an engagingly blithe and madcap very 60's camp sensibility throughout, and stages the rousing action set pieces with real skill and gusto (Coburn's fancy martial arts moves in particular are quite impressive and exciting). Coburn's amiably breezy'n'easy persona fits the character of Flint like a fine pair of stylish slippers; he talks fluently to dolphins, romances an endless bevy of beautiful babes, dons various disguises, briefly poses as a ballet dancer (!), and beats up numerous baddies without ever loosing a single ounce of his divinely unflappable cool the whole time. The rest of the cast are likewise up to par: Lee G. Cobb returns as Flint's loyal, but disgraced superior Lloyd C. Cramden, the gorgeous Jean Hale excels as classy and crafty head villainess Lisa Norton, Andrew Duggan does spirited work as both the hearty President and the hammy actor impersonating him, and Steve Ihnat hits it out of the ballpark with his excellent portrayal of the sneaky and cunning General Carter. Yvonee "Batgirl" Craig has a small, but nifty part as fetching, yet duplicitous Russian ballerina Natasha. Moreover, this movie in some ways was uncannily ahead of its time: The cabal of angry women Flint opposes neatly foretells the 70's feminist movement while the premise of an actor as President offers a frighteningly accurate prediction of Reagan getting elected into office as Chief Executive a mere decade or so down the line. Jerry Goldsmith's funky swinging score and William H. Daniels' slick widescreen cinematography are both on the money, too. A tremendously fun film.

gridoon2018 "In Like Flint", the second and last Derek Flint movie, is arguably a bit better than its predecessor, but not better enough to compete with the Bond films of the same era (or with "Deadlier Than The Male", for that matter). The production is once again colorful, with some truly beautiful shots and some neat gadgets (like a time-freezing device!); the plot is more elaborate and not fully revealed until the second half of the movie; and the sexism of "Our Man Flint" has been considerably toned down (Flint is "trying to cut down" his harem habit - he has 3 instead of 4 girls in it now! - and despite his mocking the idea that women could rule the world, he acknowledges their value and even counts on their athleticism to assist him on his mission). James Coburn is once again very good in his fight scenes; the problem is that, just like in "Our Man Flint", those fight scenes make up about 90% of the total action. Gordon Douglas' direction lacks pace, and there are certain scenes that just play on too long. The result is a movie that looks good, as do many of the women in it, but feels overlong and drawn-out. (**)

zillionairepoet Coburn goes way way over the top in ILF. In OMF he plays Flint as someone who is 'sort of real' ... for example, when Cramden asks him, "Is there nothing you don't know?" "A great many things, sir." In the fight sequences, they are also played 'not campy' ... the fight in the bathroom ... it's more fun when it looks somewhat real, and when the toilet paper and grunt of Gruber comes at the scene's end, it's the right touch.The same with the fight with the two guards outside Cramden's office. Great stuff. I think Coburn's style influenced Bruce Lee ... or other way around? If Coburn did OMF in 1965 or so, and he met Lee a couple of years later (I'm not certain) .... And after the fight, the comedy is just right; a blend of silliness (the light bulb) and straightness, with Flint saving a life. Notice also when Cramden is darted, and Flint doesn't mug when he does the cut.But in the sequel, Coburn is all over the place, over-mugging. While most of the credit for the downsizing of Flint goes to the writers, Coburn also has to take some blame. There is hardly an action scene where he plays Flint like a fighting master ... just for laffs. Again, counter this with OMF : when he climbs the ladder with the guitar rift, happily Coburn doesn't wink and mug. With that great music, it would've ruined the scene(s).However, the scene in the penthouse, with Flint talking about eating grubs is the Flint form the first movie. The director should have seen this. Or maybe Coburn thought the script was so dumb, he just let loose and had his own jokes. But Flint loses his fun when it became too much Austin Powers.Btw, the Powers movies would have been much better if they had been played as a homage to Flint/Bond. That's what OMF did so well. Created a great character with the perfect actor to play him.But even tho ILF is so inferior to the first, it's still a lot of fun. How can I say this? Because he's still Flint!