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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.
Many were concerned that Disney’s revisit to the story of Jungle Book would find it hard to be as fun or as magical as the original. Luckily, however, with an excellent voice cast and an impressive array of visuals, The Jungle Book is something of a technical marvel which manages to retain the heart and the essence of the story’s long-established roots.
Mowgli (Sethi) is a young boy - a.k.a ‘man-cub’ - who was found abandoned in the Indian jungle by a panther named Bagheera (voiced brilliantly by Kingsley) when he was only a toddler. Brought up by a wolf pack - led by leader Akela (Esposito) - Mowgli has been accepted as one of the jungle’s own.
However, there’s one member of the jungle who’s not so keen on having a human living in their midst; vicious Bengal tiger, Shere Khan (the absolutely magnificent Edris Elba), worries that the boy will soon grow into a ruthless man who will bring nothing but destruction and devastation to them all. Coming to the conclusion that it’s in everyone’s best interest if he leaves, Mowgli embarks on a journey through the jungle where he meets and quickly befriends a friendly bear named Baloo (the always excellent Bill Murray) who convinces the young boy to stay, as he finds himself returning home to face Khan.
Infusing the story with plenty of heart and an incredible sense of visual grandeur, director Jon Favreau and writer Justin Marks pull together elements from both the Disney’s 1967 animated adaptation and Rudyard Kipling’s original collection of stories to great effect. In addition, there are refreshingly darker, less happy-go-lucky moments throughout the film, with Elba’s chief antagonist, Khan, being astonishingly affective as the villain of the piece, while Johansson’s Kaa is just as hair-raising.
The brilliant voice performances, which give their gorgeously rendered and astonishingly real-looking CGI-generated characters plenty of personality, charm and wit, is definitely one of the strongest aspects of the story, with Elba and Murray coming out on top as the most scene-stealing of the bunch. Sethi is equally wonderful as the young Mowgli, filling his character with plenty of genuine childlike wonder, while Walken is absolutely superb as the singing Gigantopithecus, King Louie.
Wonderfully told and gorgeous to look at, The Jungle Book is not only a marvellous technical achievement in filmmaking, but a commendable and surprising achievement in storytelling.
Pretty Woman director, Garry Marshall, returns to the big screen with the star-studded but helplessly formulaic ensemble comedy that is Mother’s Day; a mindless and unintelligent onscreen debacle which ends up delivering its uninvolving and forced storylines with a heavy-handed serving of cheep and cheesy sentimentality.
Meet Sandy (Aniston); a happily divorced housewife and mother of two whose ex-husband Henry (Olyphant) suddenly announces his marriage to young bombshell Tina (Pretty Little Liars’ Shay Mitchell). Her friend, Jesse (Hudson), is married to Russell (Mandvi); a man of Indian origin whom she has a son with but, hasn’t yet told her parents - Flo (Martindale) and Earl (Pine) - whose Texan roots and conservative nature doesn't sit well with their union. Her sister Gabi (Chalke), meanwhile, is in the same boat, with her marriage to Max (Esposito) – who happens to be a woman – also something that might not go down very well .
Meanwhile, Bradley (Sudeikis) - a widower whose marine wife (Jennifer Garner in an excruciatingly syrupy karaoke singing cameo) was recently killed in combat - is trying his best raising their two daughters, who are at the gates of puberty.Then there’s Kristin (Robertson); a young mom who is not sure whether she can commit to the father of her child, Zack (Whitehall), and finally, there’s Julia Roberts – and her wig - in the role of Miranda; a multi-million dollar shopping network mogul who's seemingly been shoe-horned into the plot.
Although Garry Marshall’s recent, similar efforts with Valentine’s Day and New Year’s Eve have been almost unanimously panned by critics, one must say that even though they’re far from what you might call award-winning cinematic achievements, there’s always a comforting sense of predictability and familiarity.
Mother’s Day, however, overworks its interconnecting plot whilst trying to juggle far too many characters at the same time, without so much as pausing for affect. The jokes are painfully weak and sometimes even quite offensive, while all of the conflicts – if you can even call them that – are resolved far too easily to matter.
The only performance worth mentioning is that of Aniston, who manages to sustain a level of charm and likability for most of the story, whilst Roberts’ Ana Wintour-type wig remains as one of the film’s biggest highlights in a what-the-hell-was-she-thinking kind of way.
Sappy, disengaging, unrewarding and ultimately lifeless, Mother’s Day takes the occasion-based ensemble rom-com idea into territories that it may never recover from. Who knows what day they’ll tie into a film next – Halloween? Easter? How about Martin Luther King Day? Enough’s enough.