Name : Glenn Kenny / Alias : New York Times
The imagery, in scenes that always unfold slowly, is truly startling, particularly given that the film is almost 90 years old.

Name : Dave Kehr / Alias : Chicago Reader
Flaherty's sticky romanticism can't obscure the power of his images, which speak with an eloquence the intertitles lack.

Name : Tom Keogh / Alias : Seattle Times
A fascinating portrait of South Seas life, albeit embellished.

Name : Mordaunt Hall / Alias : New York Times
It is a joyful and at the same time a thoroughly artistic contribution to motion pictures.

Name : Alan Scherstuhl / Alias : Village Voice
Flaherty's company are performing their lives and their ancestors' lives and Flaherty's idea of both, for him, for his camera, for the world of '26, for us today, for all time.

Name : Moira MacDonald / Alias : Seattle Times
Not much else in this third Austin Powers sequel is new or memorable.

Name : Jonathan Foreman / Alias : New York Post
Uneven, self-conscious but often hilarious spoof.

Name : Stephen Holden / Alias : New York Times
When a movie is as down-and-out funny as Austin Powers in Goldmember, it's easy to overlook the missed opportunities and fizzled jokes littering the barrage of hilarity.

Name : Tom Maurstad / Alias : Dallas Morning News
Watching Austin Powers in Goldmember is like binging on cotton candy. It's sweet and fluffy at the time, but it may leave you feeling a little sticky and unsatisfied.

Name : Lisa Schwarzbaum / Alias : Entertainment Weekly
Mike Myers and Austin Powers may stick to their old Beatle boots, but they've both come a long way, luvvy.

Name : Guy Lodge / Alias : Variety
An impressively disciplined, occasionally transporting debut feature from globe-trotting American helmer Brian Perkins.

Name : Eleanor Ringel Gillespie / Alias : Atlanta Journal-Constitution
The reason this picture works better than its predecessors is that Myers is no longer simply spoofing the mini-mod-madness of '60s spy movies.

Name : Eric Harrison / Alias : Houston Chronicle
Austin Powers in Goldmember is a cinematic car wreck, a catastrophic collision of tastelessness and gall that nevertheless will leave fans clamoring for another ride.

Name : Steven Rosen / Alias : Denver Post
With so many impersonations to keep track off, director Jay Roach winds up moving between Myers and Myers so often that the editing feels like a crude cut-and-paste job.

Name : Bill Muller / Alias : Arizona Republic
The result plays like a series of skits, but the gags are so funny that it works anyway.

Name : Jeff Strickler / Alias : Minneapolis Star Tribune
The third installment in the series of super-spy spoofs, it's handcuffed by the ever-increasing load of baggage it carries.

Name : Roger Moore / Alias : Orlando Sentinel
The whole enterprise collapses from exhaustion about two-thirds of the way through. Still, a staggering number of the gags that Myers and Co. fling against the screen stick.

Name : James Berardinelli / Alias : ReelViews
Qualities that were once amusing are becoming irritating.

Name : Roger Ebert / Alias : Chicago Sun-Times
The movie is a little tired; maybe the original inspiration has run its course.

Name : Liam Lacey / Alias : Globe and Mail
Even if the gag-to-wince ratio isn't high, there are enough punchlines thrown here to make a sphinx smirk.

Name : Andrew Sarris / Alias : New York Observer
It's all amateur-night vaudeville and movies within movies that degenerate into total inanity.

Name : Stephen Hunter / Alias : Washington Post
The level of inventiveness remains high.

Name : Desson Thomson / Alias : Washington Post
One-ups the Austin Powers sequel that came before it.

Name : Ty Burr / Alias : Boston Globe
The most consistently funny of the Austin Powers films.

Name : Kenneth Turan / Alias : Los Angeles Times
Myers' idea of a movie turns out to be similar to Ed Sullivan's idea for a variety show: Toss in a little bit of everything and hope for the best.

Name : Craig D. Lindsey / Alias : Village Voice
The movie meanders (Perkins seems as distractingly lost as Frost), but it can stir real sympathy.

Name : Charles Taylor / Alias : Salon.com
Structurally and formally, Goldmember is a mess. What saves it is that Myers possesses in spades the thing that's crucial for comedy: an absolute lack of embarrassment and the willingness to go with his gut instinct.

Name : Geoff Pevere / Alias : Toronto Star
This is a movie that's trying in too many senses of the word.

Name : Mike Clark / Alias : USA Today
The Powers team has fashioned a comedy with more laughs than many, no question. But this time there's some mold on the gold.

Name : Richard Roeper / Alias : Ebert & Roeper
I think this is the funniest of the three movies and I liked the first two.

Name : Neil Young / Alias : Hollywood Reporter
Sometimes all a documentary needs is one strong, charismatic personality to keep things watchable: Garnet's Gold boasts two in the form of the middle-aged eponymous protagonist and his feisty octogenarian mother.

Name : Susan Stark / Alias : Detroit News
Austin and Dr. Evil remain the most inventively detailed characters played by the franchise's star, guiding light and principal beneficiary. He's cheerful and energetic as ever.

Name : David Edelstein / Alias : Slate
It's an ode to indecent joy.

Name : Ken Jaworowski / Alias : New York Times
Approaching the story for the traditional trappings - narrative, action, even logic - is to ensure disappointment. But look to it for beauty and lyricism, and you may find a deeper satisfaction.

Name : Dennis Lim / Alias : Village Voice
Star/writer Mike Myers and director Jay Roach struggle visibly with exhausted possibilities and diminishing returns.

Name : Carrie Rickey / Alias : Philadelphia Inquirer
Despite the firecracker energy of Beyonce Knowles, on hand as Foxxy Cleopatra, a tribute to bootylicious blaxploitation babe Pam Grier, the film is almost a complete fizzle.

Name : Kirk Honeycutt / Alias : Hollywood Reporter
The misses outweigh the hits by a wide margin.

Name : Todd McCarthy / Alias : Variety
The laughs are here, to be sure, although even some of the best of them are retreads and the Swinging '60s recycling act is now feeling a bit past its zeitgeist prime.

Name : Paul Clinton (CNN.com) / Alias : CNN.com
It's amusing, but you may find that you're over it.

Name : John Anderson / Alias : Newsday
Goldmember is funny enough to justify the embarrassment of bringing a barf bag to the moviehouse.

Name : Glenn Lovell / Alias : San Jose Mercury News
A 14-carat stinker, delivered with little sense of fun and less inspiration.

Name : Michael Rechtshaffen / Alias : Los Angeles Times
At its most absorbing, Lasseter's story plays like an Aussie Treasure of the Sierra Madre, in which the main subject is a bit of a cypher whose true nature proves to be as difficult to pinpoint as that elusive gold.

Name : Clarence Tsui / Alias : Hollywood Reporter
Golden Kingdom's theological backbone is fleshed out by a warm and endearing portrayal of its characters' childhood innocence.

Name : Michael Wilmington / Alias : Chicago Tribune
A shapeless, derivative-but-funny show.

Name : Connie Ogle / Alias : Miami Herald
The Austin Powers films have never, ever been anything approaching high-brow, but the uneven Goldmember seems to take a big step toward the extremely juvenile, with more scatological and fewer sex jokes.

Name : Peter Travers / Alias : Rolling Stone
All praise to Michael Caine, who plays Austin's studly spy daddy, Nigel, and to Beyonce Knowles, who turns on Pam Grier sass as agent Foxxy Cleopatra. But hit-and-miss skits trying to pass as a coherent time-traveling plot reduce them to bystanders.

Name : Mark Olsen / Alias : L.A. Weekly
Myers' puppy-dog tenacity to that cast-iron tenet of low comedy, disarming and even somewhat charming in the first film, now has an air of careerist desperation about it.

Name : Mick LaSalle / Alias : San Francisco Chronicle
Goldmember delivers.

Name : Terry Lawson / Alias : Detroit Free Press
The '60s satire that made the first movie such a hip trip is now just so much polka-dotted wallpaper; the jokes are now almost exclusively confined to orifices and excretions.