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Sarkhat Namla: Definitely Not the Official Film of the Revolution
Sarkhat Namla revolves around the economic differences in Egypt seen through the eyes of Gouda (Abdel Gelil), an Egyptian contractor who was wrongly imprisoned in Iraq. The film tries to address the issues that Egyptians have been faced with in increasing economic difficulties such as the increase in food commodity prices, the rate of corruption and their effects on the Egyptian people.
Upon returning from Iraq, Gouda is disillusioned at the depressing state of the country. With very little to his name, Gouda finds himself in conflict; his sense of patriotism compels him to get involved in the revolution, but at the same time, his efforts to live a comfortable life lead him to become involved in the same type of underhandedness that the revolution is rising up against. Naturally, this inner struggle drives Gouda to extreme measures and consequences.
Originally meant to be a comedy, the story suffers from many elements that simply felt forced. Since it's mainly seen through the eyes of Gouda, you'll get the feeling that his jokes are misplaced. Egyptian films in the last twenty years or so have invariably pulled off adding humour to real-life situations but sadly, it doesn’t work here. It wasn't only the script that was the downfall of the film; but the setting as well.
Sarkhat Namla’s advertising campaign positioned it as the official film of the revolution. This is inaccurate, as it tries to focus on the events that helped in inspiring the revolution. In fact, the shooting was almost completed before January 25th, and when the revolution kicked off, additional scenes were filmed to make it more relevant. This further adds to the mess of the script, as the story seems disjointed. Another contributing factor is surely the fact that it had to be quickly edited after being picked to screen at this year’s Cannes Film Festival.
Abel Gelil turns in an adequate performance that doesn’t stray too far from his usual style. On the other hand, Youssef fails to shine and isn’t adequately used, appearing intermittently as Gouda's belly-dancer wife. The rest of the cast are distinctly average; nothing more, nothing less.
It’s actually astounding how the film fails to deliver on any of its promises. It’s neither really about the revolution, nor is it funny; the jokes and scenarios are worn out, the parts that specifically talk about the revolution only do so in a very shallow way, and images and footage of the protests are used awkwardly. Ultimately, Sarkhat Namla is a poorly executed film that fails to portray an important and topical subject adequately.
Emerging from a lesser-known comic-book line, James Gunn’s Guardians of the Galaxy – Marvel’s tenth, and possibly quirkiest, offering – proves to be a risk well taken.
Set entirely in the galactic immensity of outer space, Guardians of the Galaxy follows the story of Peter Quill (Pratt); a twenty-six-year-old Earthling who was abducted as a young boy and raised by The Ravegers – an alien gang of thieves led by the notorious, Yondu (Rooker).
Far away from home, Peter – a.k.a Star Lord – now roams the cosmos and soon comes across a special orb; a silver infinity stone that holds an incredible amount of power. Unfortunately, he’s not the only interested party and he is soon confronted by Korath (Hounsou); the right-hand man of one of the most villainous terrorists in the galaxy, Ronan (Pace), who wants to use the orb to overthrow a rival civilization run by Nova Prime (Close).
Intrigued by the high interest in his new discovery, Peter turns his back on Yondu, who sends assassin, Gamora (Saldana), to retrieve the orb.
He also soon attracts the attention of bounty hunters, Rocket (voiced by Cooper) – a sly raccoon warrior – and his best pal, talking tree-like human, Groot (voiced by Diesel).
After causing a public disturbance, Peter and his pursuers are soon put in prison and form a temporary bond, along with muscular inmate, Draz (Bautista), in order to break out and prevent the precious stone from falling into the wrong hands.
Written by James Gunn and Nicole Perlman, Guardians of the Galaxy is refreshingly off-beat, steadfast and full of character. Visually, Gunn paints his intergalactic backdrop with plenty of colour, however some of the CGI tends to feel a little overcooked and the action-scenes – although pretty entertaining– feel a little unrefined.
Pratt – whose character and performance has already drawn comparisons to Harrison Ford’s Indiana Jones – proves to be a solid and extremely likable lead, while Saldana uses her trademark femme fatale penchant to great use . However, it’s Cooper as the chatty and cheeky raccoon, Rocket, and Diesel as the human-tree, Groot, that steal the show, adding a whimsy rarely seen in modern comic-book film adaptations.
Without household comic-book names to inject a bit of weight into proceedings, this is a film that could have found itself in the annals of failed comic-book adaptations, alongside Marvel flops such as Daredevil, Elektra and Ghost Rider.
But, armed with a funky 70’s soundtrack, likable characters, a witty temperament and thrilling action, Guardians of the Galaxy has arrived at the perfect time for Marvel, who – despite huge box office earnings with Captain America, The Avengers et al – were in dire need of a fresh canvas.
Adapted from John Green’s 2012 bestselling novel of the same name, The Fault in our Stars - a formulaic but engagingly honest story of star-crossed lovers brought together by a mutual pain - will sadden, enrich and perhaps even comfort, many of those who come across its path.
The story is centred on the sixteen year-old Hazel Grace Lancaster (Woodley); a girl who has been battling with terminal thyroid cancer since the age of thirteen. After being one of the few to respond to an experimental drug treatment, her condition is now stable, though the side effects have weakened her lungs and she is now constantly attached to a portable oxygen tank.
Hazel has pretty much accepted the fact that her days are numbered but her parents, Frannie (Dern) and Michael (Trammell), are increasingly concerned for her emotional well-being and urge her to join a cancer support group for young cancer patients like herself; not wanting to stress her parents any further, Hazel soon agrees to go.
It’s there that she first meets Augustus Waters (Elgort); an optimistic osteosarcoma survivor who lost part of his leg due to the illness. He is now living cancer-free and only comes to the meetings to support his best-bud, Isaac (Wolff). Instantly intrigued by each other, Hazel and Augustus strike up a flirty friendship but Hazel - someone who views herself as a grenade and is set on protecting those around her from the blast when that day eventually comes - is reluctant to let Augustus in. But as their relationship slowly begins to inch towards romance, she soon sees that she really doesn’t have much say in the matter.
Woodley is absolutely enigmatic as the story’s cancer-stricken heroine and ends up infusing a great amount of likeability and authenticity into the role of a young girl asked to face her destiny much too soon, while Elgort shines as the witty and the incredibly charming young man who refuses to let the cruelty of life dampen his spirits.
The Fault in Our Stars is only the second feature-film for director Josh Boone – see 2012’s Stuck in Love - however, he executes the tricky adaptation like a veteran. Scripted by Scott Neustadter and Michael H. Webert, the gravity of the material is handled wonderfully and there is a heavy dose of sincerity, humour and most important of all, heart, injected into the story’s sombre themes.
On the downside, its teenage-romance premise does get a little too cutesy in parts and the subplot, which involves a trip to Amsterdam, feels a little underdeveloped. Nevertheless, it’s the easy chemistry between its protagonists and its earnest approach makes The Fault in Our Stars a success and an ultimate real tear-jerker that won’t leave a dry eye in the house.