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.

This Helm flick should be ranked slightly lower than THE SILENCERS or MURDERER'S ROW, but definitely better than that final train wreck - THE WRECKING CREW (great babes though). The Ambushers sports Janice Rule (great actress from the 60's - check her out in THE CHASE with Brando) and Senta Berger, a European beauty with exotic looks and voice. Beverly Adams is on hand again as the sweetheart assistant, Lovey Kravezit.

A 4 out of 10. Best performance = Janice Rule. Give this one a chance. It's not THAT bad! Dino is starting to show a lack of energy by the end of it, but the girls hold him up. If you're not a complete spy-spoof snob, this is a perfect way to waste 100 minutes.

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.