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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.
Chances are that the average moviegoer won’t be all that familiar with Ant-Man – not unless you’re a hardcore Marvel fanatic – but the previous anonymity of miniature-sized superhero who dates back to the 60s, doesn’t prevent it from becoming one of the most entertaining and successful combinations of action and comedy in the Marvel Cinematic Universe.
Directed by Peyton Reed, the story is centered on Scott Lang (Paul Rudd); a skilled cat burglar who is ready to reunite with his young daughter, Cassie (Fortson), and put his life back on track after a stint in prison. However, finding the right line of work for an ex-felon is never easy and Scott is soon reeled back into his old ways by his friend and ex-cellmate, Luis (Peña), who convinces him to break into a San Francisco mansion to steal an old man’s fortune. After a successful break in, Scott finds no money; just motorcycle-type suit and a helmet. Convinced that the job is a total bust, Scott is soon shocked to learn that once he dons the suit and presses a special button, he is reduced to ant-size. Amazed at the discovery, Scott soon comes face-to-face with the suit’s inventor, Dr. Hank Pym (Michael Douglas), who’s looking to find someone with the right set of skills to take over on his invention and help him put a stop to his one-time protégé, Darren Cross (Corey Stoll), who has taken over his company and is now getting ready to unleash ‘Yellowjacket’; a special-suit threatening to endanger world order.
Much like last year’s Guardians of the Galaxy, the humour not only plays a large part of Ant-Man, but serves to be the driving force of the film. Embellished with a bold colour palette, Ant-Man looks fantastic it never becomes overbearing – something that many superhero’s tend to adopt. Written by Edgar Wright, Joe Cornish, Adam McKay and Rudd himself, Ant-man’s screenplay is engaging and smart enough to give the audience the time to get to know and invest in the characters fully.
Speaking of characters, the cast is superb and for those who had doubts that Rudd - yes, the same guy who plays Mike on Friends - could pull it off, will be pleasantly surprised. Sporting an impressive six-pack, Rudd is extremely likable – and flexible – as the eponymous character, while Douglas, as the scene-stealing scientist, is the quiet force of the film.
Playing out as more of a comedy than a straightforward super-hero action, Ant-Man never takes itself too seriously and, even though it’s not as visually grand or as explosive as any of the Avengers films, it is still more than capable of standing on its own. Two (unlikely) thumbs up. How Ant-Man will come to play apart in the wider plot of the Marvel Cinematic Universe will be interesting to see.
Ludicrous, crass but also undeniably fun,Ted 2 - the sequel to Seth MacFarlane’s successful 2012 comedy, Ted –proves to be a more consistent and better drawn-out affair than its predecessor, even if the jokes – which there never seems to be a shortage of– don’t always land where they’re supposed to.
Picking up shortly after the events of the first film, Ted 2 is once again centred on best-buds and avid stoners, John Bennett (Wahlberg) and his talking teddy bear, Ted (voiced by MacFarlane) who, as it turns out, don’t seem to be living out their happily-ever-afters with the women in their lives. See, John has divorced the love-of-his-life, Lori (Kunis), and Ted, who at the beginning of the film shares his “I Do’s” with his human-bride, Tami-Lynn (Barth), is in constant clashes with his new wife.
Deciding that the best way to reconcile and put an end to all the bickering is to start a family, Ted reaches out to his best-friend for help; a decision which soon proves rather messy. However, Ted’s civil rights are soon called in to question by the government who wish to brand Ted as property as oppose to a living thing, leaving John and Ted with no choice but to turn to the rookie – and pot-loving- lawyer, Samantha (Seyfried) for some legal help in an attempt to prove that Ted is a living being with rights of his own. Hence the tagline ‘Legalise Ted’.
Endless pop-culture references and MacFarlane’s distinct brand of abstract toilet humour is once again the integral part of the story. While the first film lent most of its focus on Wahlberg and his romance with Mila Kunis – the actress was written out of the script due to her pregnancy with husband Ashton Kutcher – Ted 2 shifts the focus onto the talking teddy and his battle to be recognised, essentially, as a human.
The decision to shift proves to be a smart move, although the film does tend to take itself a little too seriously at times; in addition, Wahlberg – whose deadpan delivery is almost always spot on – seems to shine more in his secondary role.
Ted 2 is neither ambitious nor smart and its jokes are often offensive and pretty vulgar. Nevertheless, it’s a fun goofy kind of vulgarity that will ensure more box office success and probably even a third film.