An absolute waste of money

It’s an especially fun movie from a director and cast who are clearly having a good time allowing themselves to let loose.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

(Originally seen many years ago) I didn't like the first one, the second was worse and somehow this manages to be on a new level of awfulness. The film has no story, it's all about how many visuals hey can throw at the screen, it play's out like the worst video game ever made; With horrendous performances(Stallone pathetic villain especially), no plot, no common sense and horrible writing, this colourful garbage is an atrocity on cinema and the human mind; It's one of the worst film's of the 00's.

This is a review for all 3 movies. I watched all 3 this weekend. Seen the 1st one years ago as a kid back in 2001 and I loved it. Now 2017 lets see what I think.The first one is tolerable and you can see that they are spies and for a first take movie about such thing during such time was pretty cool.Second movie its even all forgettable. AS I type this i can't remember what even happened. Anyways, the 2nd one was garbage made no sense, green screen sucked, effects sucked and why are they call spies? was there even a villain in this movie because the Giggle guy was also in the 3rd one without any punishment it seems. 2nd spy kids movie is awaste of time. The 1 thing that baffles me is that Juni get the blame when he didn't really do anything but do the right thing.3rd spy kids movie would work if they didn't call them spy kids. Iunno why they call them spy kids when they don't do anything spyish. His sister was barely in the movie. They always go from evil guy to respecting him without punishing him for what they have done. This movie was garbage, green screen even in those days looks bad.In-conclusion only movie of the 3 worth watching is the 1st one, even so all movies are a waste of time. only good of the movies were the mom and dad but even after the 1st one they are portrayed as clumsy wash ups.

Spy Kids 3-D: Game Over is the third installment of the Spy Kids series and a fantasy adventure film from Robert Rodriguez.It features many of the cast members from Alexa Vega and Daryl Sabara as Carmen and Juni Cortez respectively together with Antonio Banderas,Carla Gugino,Ricardo Montalbán,Holland Taylor and Mike Judge.It also stars Sylvester Stallone as the kids' new nemesis,The Toymaker. In third movie,Carmen is trapped inside a reality game designed by the Toymaker.Juni takes responsibility of saving his sister and the world as well as it is in danger of the new nemesis' hands.The movie has a great premise.The visual effects - the 3D effect - was also great.Too bad that asking Daryl Sabara to carry the film from beginning to end somehow minimized the interest in the story as the presence of his sister - Alexa Vega - as well as his parents - Antonio Banderas and Carla Gugino - are very much needed in the story.Too bad that even Stallone's presence isn't enough to make it better.But nevertheless,it his presence did help in the box office as it did earn more money compared to the second installment and almost matched the original.

Game Over. Game Over is the sub-heading to this third Spy Kids film, and boy does "Game Over" just about sum it up. This second sequel, in what has been, in all honesty, a laborious and solemn franchise of child-induced shenanigans and daft spectacle more often than not the wrong side of painful, is near-to unwatchable; a tumbling, spindly, visually ugly little piece rotten to sit through and annoying to think about. American director Robert Rodriguez has always been the king of a kind of crass; a filmmaker often making gleefully scuzzy B-movies, from his own scripts, which riff on either science fiction or crime - more often than not pulling them off. The Spy Kids films have always been where Rodriguez strikes out; his foundations built on guerrilla filmmaking, in El Mariarchi, gave way in equal tandem to both Invasion of the Body Snatchers and Assualt on Precinct 13 pastiches, in 1998's The Faculty as well as 1996's From Dusk till Dawn, respectively, which further still led much more recently onto postmodern homages of the Grindouse movement and classical Hollywood noir. Spy Kids, and its sequels, just seem to be the lame and unnecessary blot on your man's CV; a playground, a test area for the director to experiment with green screen backgrounds and to kick back with people of whom he has previously worked.The little kid from the previous two films, who was never that interesting, here drives this entry; he is Juni Cortez, played by Daryl Sabara, and the film's first mistake is to promote him from the good foil that he was to his sister, played by Alexa Vega, to chief protagonist. After a lot of old nonsense at the death of Spy Kids 2, which encompassed his dismissal from the secret agent society within which his entire family operated, Juni is working as a "gumshoe" for private child clients whilst doing his best to solve other such conundrums like removing people's cats from trees. He walks down lonesome streets and arranges to meet in old theme parks devoid of activity; he is as empty and as desolate as these places look. A film along these lines revolving around Juni as a P.I. might have been good fun; Rodriguez would go on to explore such things in an as additionally-a post-modern way, and with the sorts of green screen effects put to use here, in his following project, Sin City.Unfortunately, we get all of about five minutes of the "Juni the P.I." movie; the film spiralling down an unrestrained and positively puerile path more broadly representative of Sabara's character propelling himself into a video game to encounter temperamental youths and duel with them. The catalyst for all this nonsense is the mysterious kidnapping of his sister, Carmen, and her consequent disappearance into this virtual-reality; a situation painfully set up by Salma Hayek's exposition – a role you can literally see Hayek having second thoughts about as the film wears on and her role gets gradually more plentiful. This video game alternate reality Juni must enter is apart of a broader network of video gaming franchising that has the world's child population hooked. However, there is something sordid and underhanded beneath its surface; a wicked individual at its heart running the thing named The Toymaker, who is an old enemy of Juni's ex-employers and is played here by Sylvestor Stallone - Often, one incarnation of Stallone is enough in a film; here, and because we begrudgingly get four of him.Prior to going in, Juni is additionally swept up in the wave of popularity this video game has on everyone – but would someone of Juni's life experiences thus far really be into such a juvenile thing? Rodriguez painstakingly inserts this central tract about how the one thing you think is all conquering and glamorous is actually somewhat flawed; additionally, there is a persistent coming back to how important it is not to cheat at games you play with people. The politics are in the right place, but anyone either elder than nine years old or looking for something a little more out of the film, is not. What the mission consists of, is a bunch of one-on-one duels with other gamers: there is a sword fight; an automobile race; a boxing match involving gigantic robots – none of it interesting, most of it capable of unfolding in any order you like and anybody who has seen 1982's TRON and doesn't think of it while they watch it just isn't trying hard enough. The film's end credits are particularly revealing, in that the project's lone laugh is a natural instance which rears up during shooting; the technical aspects behind the project, as Rodriguez et al. use the green screen and the machinery to recreate the virtual-reality world, look quite interesting – proving that the theory and technicalities behind such technology is inherently more interesting than anything people create with it. As the film dies its death during its Time Bandits-inspired finale, one character stops amidst the chaos as asks: "Wait a minute, who won?" Well, we in the audience certainly didn't.