Dr. Evil has stolen Austin Powers' mojo. I know this is an unspeakably diabolical act but when your name is Dr. Evil you do things like that. What is a mojo? For one, it looks a lot like pig's intestines floating in a tall glass of club soda. On another level, it is the force behind Austin Powers' ability to be the international shag-master that he is. You can bet he's gonna spend the better part of The Spy Who Shagged Me trying to get the damn thing back.

In this latest edition of the Austin Powers saga, Mike Myers handles both of the aforementioned roles with such acutely infectious humor that I actually found myself laughing out loud – something I've only done on rare occasions such as while watching early episodes of Seinfeld or recent Madonna videos. Quite obviously, it's Meyers' formidable comedic talents that keep the vehicle afloat. Of course, the fact that Heather Graham, as Felicity Shagwell, spends the better part of the movie dressed in very little clothing, and has a set of gams that really ought to be insured by Lloyds of London, doesn't hurt matters much either. (For all you squares out there, I'm talking about her legs, baby.)

Heather Graham as Felicity Shagwell

Myers co-wrote the screenplay with Saturday Night Live brethren Michael McCullers. The plot, as mentioned, centers on Power's purloined mojo and a side project of Dr. Evil to destroy the world. (Super villains are invariably hell-bent on this latter effort; although it seems to me that allowing the Planet to continue in its current wretched fashion is diabolical enough to satisfy any twisted mind.) Of course, the story line somehow requires all leading characters to time travel back to the Swinging Sixties where Austin can conveniently grind and bump with fabulous models complete with shockingly short skirts and impressively large breasts.

The movie begins with the discovery that Powers' wife Vannessa Kensington, is actually a female robot, or "fembot," (played by Elizabeth Hurly, whose own silicon implants are definitely NBA regulation size). While this does put some immediate strain on the couple's marriage, inevitably it works out for Austin who quickly realizes that he is single once again and therefore able to put his formidable shagging talents back to optimum use.

So how does The Spy Who Shagged Me work where so many other comedies fail miserably? This is a tough call, akin to trying to analyze why one "bird" is a particularly good shag whereas another seemingly shagable bird provides a far less memorable experience. One factor is Myers' ability to alternate between two equally amusing personas, that of Powers and arch nemesis Dr. Evil. Other elements that adds to the film's successful chemistry are various offerings of gratuitous entertainment that include bright swirling Peter Max-like landscapes, plenty of sex, an endless parade of diverting cameos (e.g., Jerry Springer, Woody Harrelson, Tim Robbins, Rebecca Romijn-Stamos, et. al.), and a generous serving of great sixties music. Midway through the movie, Elvis Costello and Burt Bacharach miraculously appear on the street to perform "I'll Never Fall in Love Again." Other nuggets laced throughout the movie include the Who's "My Generation," Steppenwolf's "Magic Carpet Ride" and Lenny Kravitz's sizzling rendition of the Guess Who classic "American Woman."

A couple of caveats that should be mentioned: (1) humor is, of course, a very subjective concept (I've always found a slip on a banana peel to be far more funny than any scathing political satire) and, (2) The Spy Who Shagged Me is obviously an extension of its predecessor International Man of Mystery. It, therefore, goes without saying that the infinitesimally small percentage of the movie-going public who neglected to see the first installment of the series will find the follow-up far more refreshing than their hapless counterparts. Furthermore, moviegoers that take offense to penis-and-scrotum shaped rocket ships, crotch-biting midgets and the words "baby" and "shag" should probably pass this one up altogether.