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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.
A truly original horror film isn’t easy to come by these days; even the likes of Paranormal Activity and, going further back, The Blair Witch Project don’t stand-up to second viewing after the dust has settled from the initial impact. Irish production, The Canal, isn’t the film that’s going to change that, but it does have its positives.
The story tells of a husband troubled by paranoia; film archivist, David (Evans), suspects that his wife, Alice (Hoekstra), is having an affair and his suspicions are proven right. Amidst the impending demise of his marriage, he also comes to discover that a gruesome murder was committed in his house some one hundred years ago and he becomes increasingly unstable when Alice goes missing and he becomes the number one suspect.
While it’s far from perfect, writer/director, Ivan Kavanagh, manages to create a sense of dread and anticipation throughout, all the while resisting the conventions that have come to define the modern horror genre. It wouldn’t be completely off-point to call The Canal a more traditional, old-school haunted-house horror, with the dreary Irish backdrop making for an apt setting.
The aesthetic seems to have seeped into the dialogue, however, and paints the script with dreary deadpan interactions. But what will keep you engaged most is David’s slow emotional descent; it gives the film a humanness that many modern horrors lack. But as we’ve mentioned, this is a film not cut from the same mould and European film continues to produce diverse and unique horror.
Again, this is far from perfect and there’s a Hollywood polish that moviegoers have become accustomed to that’s lacking and at times this is a film that will make you feel uncomfortable in the best of ways. It’s as much as psycho-thriller as a horror and despite an underwhelming conclusion, it’s indie horrors like this that will impact the genre in the decade to come.
Like Tina Fey and Amy Poehler before her, Amy Schumer is the in comedienne in Hollywood right now and her first major role couldn’t have come under the conductorship of a better person; Judd Apatow. The man who had a hand in The 40-Year-Old Virgin, Knocked Up, Superbad and Anchorman is comedy royalty in Hollywood and, as a director, has a knack for bringing out the best in his actors with his very character-driven comedies and does exactly that with Schumer, giving her a perfect platform to introduce herself to the world.
There isn’t exactly much that you could call innovative with the plot of Trainwreck and so all of its enjoyment is owed to the actors themselves. The story follows Schumer’s character, also named Amy, and her toil and trouble in the game of love. Barely functioning as an active member of society, Amy drinks to get drunk, smokes to get high and jumps in bed with strange men to forget – all that despite being in a relationship with a gym-rat ably played by WWE wrestler and occasional actor, John Cena.
Through her work with a magazine, she comes to meet a sports doctor, Aaron Conners (Hader), and end up falling for each other, with the only potential obstacle standing in the way of a future together being Amy’s fear of commitment.
Again, there’s not a lot about the plot that will blow you away; two lovers-to-be come to fall for each other in unlikely circumstances, an event brings to light a problem with one or more of them which builds a barrier between them, before one of them has the courage to make a compromise and they live happily ever after. It’s the basic template that all romantically infused films are based on and there’s no getting away from it, especially when thrown in a hotpot with comedy.
But it’s Schumer and her supporting cast – as well as that Judd Apatow touch – that keep the viewer engaged in what is otherwise a pedestrian story. The humour is sharp and witty, but, most importantly, the characters are very relatable, with the script not falling back on clichés. The viewer isn’t expected to see the characters through rose-tinted shades; it doesn’t boil down people to good or bad; they’re just human.
More important than all that, however, is that Trainwreck is funny, ridiculous, but at times endearing – a perfect recipe for a rom-com.