
The epic tale of one man's pursuit of the American dream, to discover gold. Kenny Wells, a modern day prospector desperate for a lucky break, he teams up with a similarly eager geologist and sets off on an amazing journey to find gold in the uncharted jungle of Indonesia. Getting the gold was hard, but keeping it would be even harder, sparking an adventure through the most powerful boardrooms of Wall Street. The film is inspired by a true story.
About Gold
Artist : Matthew McConaughey, Edgar Ramirez, Bryce Dallas Howard, Corey Stoll, Toby KebbellAs : Kenny Wells, Michael Acosta, Kay, Brian Woolf, Jennings
Title : Gold Si Peliculas
Release date : 2016-12-25
Movie Code : 0071566
Duration : 90
Category : Drama
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Screen Of Gold
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The level of inventiveness remains high.

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.

An impressively disciplined, occasionally transporting debut feature from globe-trotting American helmer Brian Perkins.

The most consistently funny of the Austin Powers films.

It's all amateur-night vaudeville and movies within movies that degenerate into total inanity.

Even if the gag-to-wince ratio isn't high, there are enough punchlines thrown here to make a sphinx smirk.

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.

A 14-carat stinker, delivered with little sense of fun and less inspiration.

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.

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.

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.

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.

The misses outweigh the hits by a wide margin.

Golden Kingdom's theological backbone is fleshed out by a warm and endearing portrayal of its characters' childhood innocence.

The movie is a little tired; maybe the original inspiration has run its course.

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.

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.

The third installment in the series of super-spy spoofs, it's handcuffed by the ever-increasing load of baggage it carries.

Qualities that were once amusing are becoming irritating.

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.

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.

The Powers team has fashioned a comedy with more laughs than many, no question. But this time there's some mold on the gold.

I think this is the funniest of the three movies and I liked the first two.

Not much else in this third Austin Powers sequel is new or memorable.

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.

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.

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.

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.

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.

Goldmember is funny enough to justify the embarrassment of bringing a barf bag to the moviehouse.

Goldmember delivers.

It's an ode to indecent joy.

Uneven, self-conscious but often hilarious spoof.

A shapeless, derivative-but-funny show.

It's amusing, but you may find that you're over it.

The result plays like a series of skits, but the gags are so funny that it works anyway.

Star/writer Mike Myers and director Jay Roach struggle visibly with exhausted possibilities and diminishing returns.

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.

One-ups the Austin Powers sequel that came before it.

Mike Myers and Austin Powers may stick to their old Beatle boots, but they've both come a long way, luvvy.

This is a movie that's trying in too many senses of the word.

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.

The movie meanders (Perkins seems as distractingly lost as Frost), but it can stir real sympathy.

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.
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