Emboscada para Matt Helm

I watched this Matt Helm movie after watching the other three because of its reputation for being subpar. While it is definitely the most campy of the four and starts off a little slow, it's a lot of fun. The Ambushers is the most sci-fi of the four and features an "electro-magnetic" UFO and some very forward-thinking exo-suits.

Dean Martin looks comfortable in the role (in The Silencers he looked like he didn't want to be there) and he actually shows up for location shoots in this one. He also has some interesting lines. (Girl: "Suspenders AND a belt?" Helm: "I have trouble keeping my pants up.") I love the gadgets (the fez-garrote, the belt-sword) and the humor. The firing squad scene has to be seen to be believed.

Janice Rule sparkles on the screen. Her character is so self-assured and beautiful-a great partner for Helm. The score is lush and fitting and the girls' outfits are to die for. Also, the film transfer, like the other Helm movies, is decent.

As a footnote, it has been said that the UFO and the columnar "control panel" seen in launch control are recycled from Star Trek (Lazarus' ship in The Alternative Factor, and the Romulan warbird bridge controls from The Balance of Terror). Simply comparing photos of each is enough to disprove this. Perhaps the interior frame of the UFO and part of the dome were re-used, but otherwise they are quite different in size and construction.

The third Matt Helm film - and easily the weakest up to this point. Though Maltin's BOMB rating seems a bit harsh - it IS watchable, after all - it's hard not to notice the drop-off in quality from its predecessor, "Murderers' Row". The villains are nobodies, the gadgets are not as cool as before (levitating gun < delayed / reverse firing gun), the climactic vehicular chase has worse rear projection than the Abbott and Costello movies, and the entire enterprise is slow, unexciting and drab. Bright spot: Janice Rule, who is the smartest Matt Helm assistant so far, and also closer to Dean Martin's age than Ann Margret or Stella Stevens, which makes their (professional and romantic) partnership more believable. Senta Berger has an interesting character, in the sense that you are not sure for a long time whose side she is working for, but ultimately she is underused. The movie's two best bits actually come at the very start (the catchy title song), and the very end (a funny Frank Sinatra gag). *1/2 out of 4.

I'd like to know more about the people writing negative reviews of a movie like this: how old are they? were they even alive during the 60s? This movie is a product of a different age. It was a simpler time. You could get away with making movies that had this kind of production values, script and, yes - allusions to rape in an action-comedy notwithstanding - moral values (I'm not saying they're high, they're just an indicator of the time).

Do you watch Charlie Chaplin or Laurel & Hardy and complain about the cinematography? You're watching a movie from the 60s guys - it's a time capsule. It can teach you about what life was like then, because at the time the Matt Helm movies were all completely acceptable and even successful.

I dread to think how you lot would handle a 'Carry On' film - yet they were some of the most successful movies ever made in England. You'd probably brand them sexist, vulgar, childish and uninventive though...duh!

Nice, entertaining movie -having in mind that this is not a serious film but a James Bond parody full of clichés, male chauvinism, sex object female characters and absurd situations. Still, it is a nice sixties movie full of colour, impossible groovy fashions and happy pop music. The final joke about Sinatra and Martin music is an eye blink to the rat pack films they made together. Dean Martin seems to be having a good time as watchers do. Light entertainment.

The third of Dean Martin's Matt Helm adventures is generally considered to be the worst of the quartet but, while undeniably the silliest (especially in the film's relentless concession to go-go dancing), it's still never less than enjoyable; I'd say these goofy spy sagas were basically the rough template for the jokey version of James Bond as depicted throughout Roger Moore's tenure in that series!

While here we don't get the hero thinking in song per his usual custom (though Hugo Montenegro's lounge score is as infectious as ever), all of the character's other traits are allowed full sway: the constant intake of alcohol, the lethal attraction to women, the dubious gadgets (guns shooting heat rays or causing people to levitate, an inflatable tent complete with comfort accessories, cigars emitting laughing gas, while even the women spies are given the benefit of narcoleptic lipstick and bullet-shooting bra – the latter device has actually reminded me that I've yet to check out the Vincent Price sci-fi comedy DR. GOLDFOOT AND THE BIKINI MACHINE [1965]) that I've recently acquired.

The two leading ladies themselves are well chosen: Senta Berger (somewhat ill-used, though, as the obligatory duplicitous female – especially since she's eventually disposed off rather too quickly, and not even by Helm!) and Janice Rule (quite delightful as Martin's companion but who also gets to play an important role in the mission); besides, as ever, there's a plethora of other beauties on hand – including Helm's ubiquitous secretary Lovey Kravezit (Beverly Adams yet again). The villains, too, are notable: Albert Salmi and Kurt Kasznar; as for the action scenes, perhaps the most elaborate is the one inside Kasznar's brewery…and, of course, a jab at Martin's fellow Rat Packer Frank Sinatra never goes amiss! For the record, the best line in the film has Berger toasting via the traditional Scandinavian epithet of "Skol", with Martin's instant retort being "Sure it's cold – it's got ice in it!"

The plot, for what it is, involves the theft of a flying saucer (though we're never told just what Salmi intends to do with it and, in fact, is later visited by interested parties bidding for possession of it) which, it transpires, can only be flown by a woman – as the atmosphere inside is fatal to the male of the species (huh?). The comic-strip nature of the film extends to the climax – in which Helm chases the runaway saucer (speeding across a railway track with Rule still inside it) on a motorbike (he even goes underwater on top of it and comes up with an alligator seated in the sidecar!) – which, however, is rather marred by the rampant back-projection involved.