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Samy Oxyde Al Carbone: Tired, Silly Slapstick Comedy
Samy (Ramzi) is a jobless playboy, who spends his time wasting money and chasing women. Then he meets and falls for Gihan (Dorra), a hardcore social activist who regularly organises protests and despises egocentric, wealthy people like him. In order to impress her, Samy does what any man in his position would do, and pretends to be a low-maintenance, working class version of himself. While trying to woo Gihan and fit into her activist circle, Samy discovers that the land he owns is being contaminated by pollution from a nearby factory owned by Gaber (Fawzy). Karma can get you like that.
Things become even more complicated when Samy's ex-wife Haidy (Tetiana) reappears after many years only to tell him that he has a daughter called Sandy (Nasrat). Haidy is terminally ill and can’t take care of Sandy, and so Samy suddenly has the responsibility of fathering a child he’s never known of. This is, understandably, Samy’s opportunity to redeem himself and become a changed man. Queue the violins or the Rocky theme tune; both are fitting.
The film's main plot is actually split into two parts; the first is about him changing into something he's not, and the second revolves around his dealing with the responsibility of parenthood. Predictably, both stories suffer from various annoying elements. To begin with, Ramzi’s depiction of a successful womaniser is very hard to believe – the actor has pulled off the awkward, dorky roles for years, but he lacks the suave charm to convince us of his flirting skills.
Additionally, his father-daughter scenes with Nasrat are forced and seem to shove the jokes down the audience’s throats. An example of this is a when Samy and his best friend Medhat (Edward) dress up in various costumes, including Avatar characters, in an attempt to entertain his newly acquired daughter. Nasrat does her best adorable act as the charismatic young daughter, but it borders on slapstick and – again – forced.
Director Akram Farid seems to have borrowed themes from US films like Game Plan and Big Daddy, but this film lacks the charm and humour to pull it off. Essentially, this film is all about Ramzi, which is unfortunate considering that his flat portrayal of an immature man lacks the type of charisma needed with an anti-hero character like this, and fails to command the audience’s attention. His cheesy lines don’t help either. Even hardcore Ramzi fans will be disappointed, and the supporting cast fails to impress: as Samy’s best friend Medhat, Edward plays the same funny sidekick that we’ve seen him play before, while Dorra’s efforts are lacklustre as she gives a lukewarm performance with little charm.
By Egyptian standards, this comedy is weak and almost offensively silly in its use of cheap humour. This type of slapstick comedy may have worked back in the 90s, which in hindsight is still a little embarrassing if it did, but you’d think that Egyptian cinema has evolved and improved in the past two decades.
Unlike the first two films in the wildly popular cinematic adaptation of Suzanne Collins’ young-adult novels, The Hunger Games: Mockingjay Part I –the first instalment of a two-piece finale – is an underwhelming and slightly hollow watch.
Mockingjay Part I begins shortly after the end of Catching Fire, which saw Katniss Everdeen (Lawrence) pulled out and rescued from the games by game-maker, Plutarch Heavensbee (Hoffman), and mentor, Haymitch Abernathy (Harrelson).
Brought underground and aided by the District 13 rebels – led by President Alma Coin (Moore) – Katniss is asked to serve as the face of the growing revolt against President Snow and his tyranny over Panem. However, getting the young-rebel on board is not easy, as Katniss – whose beloved home district was levelled by Snow’s bombers in the previous instalment – is still trying to overcome the loss of her fellow District 12 champion, Peeta Mellark (Hutcherson), who has now become a prisoner of the Capitol.
Desperate to bring Peeta back to safety, Katniss soon agrees to become the ‘Mockingjay’ and operate as a symbol of hope and resistance for the people of Panem.
Just like Harry Potter and Twilight – other similarly structured franchises that have split the big finale into two or three parts – Mockingjay Part 1 feels abrupt. Granted, it’s unfair to judge a two-part film as, essentially, one arc is running through both, but a film released on its own can only be watched on its own and this first part spends its two-hour-plus running time setting up the pieces of the puzzle and building up the story with no payoff.
This is somewhat remedied by returning director Francis Lawrence’s focus on big battle scenes, though once again, there’s no real payoff, no punch-line.
One thing that won’t be put into question is another engaging, emotional and an overall solid performance from Oscar-winning actress, Jennifer Lawrence, who manages to keep the story kicking, regardless of its awkward pacing. Other returning faces, which included Hoffman, Harrelson, Hutcherson and Banks, are all equally reliable and, as the determined President Snow, Sutherland is once again a strong and a dependable villain.
Given the reasonable star-power behind it, much was expected of The Angriest Man in Brooklyn – loosely adapted from a relatively unknown film titled, The 92 Minutes of Mr. Baum.
Directed by Phil Alden Robinson – see Sum of All Fears – and written by Daniel Taplitz, the film is centred on Henry Altmann (Williams); a crabby family man and a real-estate broker who’s prone to raging outbursts which sadly, have resulted in estranged relationships with his wife, Bette (Leo) and son, Tommy (Linklater).
After a series of medical tests and examinations, Henry soon meets Dr. Sharon Gill (Kunis); a seemingly worn-out doctor who informs him that he has suffered an aneurism. She adds fire to the fuel by telling her unstable patient that he only has ninety-two minutes to live.
Henry rushes out of the hospital and quickly hits the road of redemption. In an attempt to mend broken relationships with Bette, his son, Tommy, and brother, Aaron (Dinklage), Henry needs to hurry before it is too late.
Undecided on what it wants to say, The Angriest Man in Brooklyn is probably one of the most bewildering and cringe-inducing films of the year. Lost and with little structure behind its premise, the film – just like its main character – spirals out of control pretty quickly and one too many ideas, stories and subplots are thrown into the mix, without ever giving it enough room or time to explore them.
Nonetheless, watching Williams in action is always interesting, no matter how crazy and the late Oscar-winner is once again given free reign and even though, he does go a little overboard with the theatrics at times.
Draining, lazy and painfully sloppy, The Angriest Man in Brooklyn is likely to throw viewers into fits of rage, too. An understandable reaction to sitting through eighty-three minutes of nonsensical and unfunny blabber.