Condorman (1981)
One of the flops from Disney’s live-action heyday with Michael Crawford as a comic-book artist who gets to bring his inventions to life after being thrust into a spy caper
The Science Fiction Horror and Fantasy Film Review
Spy films are thrillers and action films that deal with international espionage. Common story elements centre around the efforts to obtain information from the enemy, to prevent plots to attack domestic territory or world-domination schemes and assorted manoeuvrings around.
The spy film as we know it emerged on screen with the first James Bond film Dr No (1962) adapted from the popular books by Ian Fleming. The Bond films introduced the tropes of the genre – the suave womanising super-spy; the super-villain with the world domination plot and his near-invincible henchmen; and the gadgetry and weapons employed by the villain, which frequently took the works into the realm of science-fiction. The Bond films became a long-running series passing through different actors and continuing to the present day. There was also a large body of imitators during the 1960s that rarely took themselves seriously and attained a psychedelic absurdity.
From the late 1960s, the spy film has made a move back towards a greater realism. The late 1990s/2000s brought the spy parody in the form of the Austin Powers films, spoofing the look and tropes of the James Bond films and these too led to a number of imitators. The variant that is discussed here that features assorted science-fictional elements has been nicknamed ‘spy-fi’.
For more detail and an overview of the genre see the Theme Essay Spy Films.
One of the flops from Disney’s live-action heyday with Michael Crawford as a comic-book artist who gets to bring his inventions to life after being thrust into a spy caper
Henry Thomas, then riding on the success of E.T., is cast as a kid with a love of spy games who, accompanied by his imaginary companion, is plunged into the midst of a real spy caper.
The second big screen revival of the hit 1970s tv series. Essentially a Girl Power version of one of the Mission: Impossible films, which turns what was originally a girl-fronted detective show into a spy caper featuring SF gadgetry
Big-budgeted spy thriller with Gregory Peck as a scientist who poses as a defector to Communist China. This never enervates much as a thriller but its recreations of Communist China are amazing
Cats & Dogs was amiable but this sequel struggles against the irritatingly cutsie elements that have come to dominate this mini-genre of live-action talking animals films
Here the cutely appealing idea of a talking animals film conducted in live-action a la Babe has been blended with a tongue-in-cheek spy adventure. The results are enjoyably silly
During the James Bond craze of the 1960s, the only Ian Fleming novel not owned by Albert R. Broccoli was turned into a giant farce. The film has five directors, a host of stars (including three playing Bond) and is an incoherent mess
Sequel to Pixar’s Cars. While the original was a cutely appealing concept with a gentle contemplative message, this plays as more of an out-and-out spy caper making a virtue of its international locations
This was the eighth of the Carry On films. The popular British comedy series turn their bawdy sights to conducting a spoof the James Bond film during the height of the spy movie fad
Captain America’s second solo outing feels more like a Mission: Impossible film or an episode of 24 than a superhero film. Lots of Marvel continuity and fanservice and you are taken aback at how political it is prepared to be
A reboot of the Jason Bourne series with Jeremy Renner replacing Matt Damon. The exhiliratingly kinetic action scenes are watered down, while the plot lacks the same focus. The first of the series to enter genre territory however
A TV movie that was released theatrically outside the US with Dale Robinette as a James Bond copycat with Dale Robinette up against villain Patrick MacNee who has weaponised the ozone layer
Third of the Harry Palmer spy films starring Michael Caine, which were made as a more grounded alternative to James Bond. Unfortunately, this has been placed in the hands of Ken Russell who overblows everything with a giddy eatravagance
The Avengers was the height of 1960s chic. Amid the 90s/00s fad for big screen remakes of tv shows, this was a miscalculated disaster that gets everything about the original wrong from the casting to the droll humour
The second of the Austin Powers films is less sharp in its parody of the James Bond film and more focused on a series of broad scatological gags. Mike Myers owns the show in a trio of entertainingly gregarious performances
The first of Mike Myers’ Austin Powers films is at times extremely silly and scatological but does offer a knowing and witty parody of the James Bond films. The result became a cult phenomenon
Third of the Austin Powers films and the point where the amusements of the other films topples over into a pandering indulgence to Mike Myers’ mugging, which is allowed to overtake the whole show
The title is misleading as the film doesn’t feature any robots but a group of mind-controlled assassins. An entry in the mid-1960s spy film fad from cult exploitation director Jess Franco
Another of the spy parodies that emerged following Austin Powers. Frankie Muniz is a high school teenager who is recruited as a spy. This proves a mildly amusing set-up that is delivered with surprisingly little wit
A sequel to the teen spy comedy. This moves the action to England but amplifies everything else into inanely loud and noisy slapstick action
Fourth in a series of energetic Hong Kong slapstick action capers. The film has no pretence to anything more than providing a new action sequence every five minutes, although by now the level is juvenile