Jay Roach is affirmed for Apex, with the film's success launching a substantial comedy career and later political films and television work. — Sean Fennessey
Mike Myers is emphatically affirmed for Apex based on his post-film power, and Verne Troyer is affirmed without hesitation. — Bill Simmons
Heather Graham is affirmed for Apex, with the film's commercial scale, Bowfinger and magazine prominence outweighing Boogie Nights' prestige. — Bill Simmons
Dr. Evil impressions are proposed for Apex rather than assuming audiences recognized Lorne Michaels; the revived VW Beetle gets only a maybe, and mailbags are rejected. — Sean Fennessey
Random-song soundtracks receive an affirmative Apex response; Lenny Kravitz is tentatively proposed through American Woman and its Graham video. — Sean Fennessey
Rob Lowe's comic reinvention, resilience and concurrent West Wing role prompt a late Apex reconsideration, but his 1980 s leading-man period is preferred for greater power. — Bill Simmons
The Springer scene is nominated for Dr. Evil's entrance and ensuing brawl, while its dependence on the show's once-central cultural status is flagged as a future obstacle. — Bill Simmons
Mini-Me's introduction and immediate hostility to Scott are nominated; the reveal is remembered as a major comic event. — Bill Simmons
Verne Troyer's sudden celebrity is recalled through awards-show visibility and reality television, alongside acknowledgment of his later personal struggles. — Sean Fennessey
The Alan Parsons Project sequence is nominated for Scott's sarcastic reactions and Dr. Evil's insulted response, while the musical reference may escape younger viewers. — Bill Simmons
The president and war room laughing at the $100 billion demand is nominated. — Bill Simmons
Austin's space fight with Mini-Me is nominated as effective slapstick and a callback to the first film's toilet sequence. — Bill Simmons
The spaceship euphemism montage is the favorite scene for one speaker and also amuses the producer; the Harrelson and Nelson cameos are highlighted, with an uncertain recollection that test reactions prompted extra filming. — Bill Simmons
Mini-Me's first scene remains another choice; the tent silhouette and objects emerging from the bag are additional nominees for juvenile but effective comedy. — Sean Fennessey
The incompetent guard falling into the fire pit is nominated for its deliberate stupidity. — Bill Simmons
Fat Bastard's crying confession about eating and unhappiness is praised, though the character is considered more effective in 1999 than 2019. — Bill Simmons
Fat Bastard meeting Mini-Me and the baby-back-ribs song are additional memorable bits; the latter's 1969 setting is acknowledged as incoherent and its reference as time-bound. — Sean Fennessey
The sex-scene lead-up with Frau Farbissina is considered weak, but the awkward coffee encounter afterward is praised and suggested as another rewatchable scene. — Sean Fennessey
