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Tek Tek Bom: Another Mohamed Saad Slapstick Flick
Mohamed Saad plays Tika, an underdog Egyptian who sells toys for a living. A poor but good man, Tika's story begins on his wedding night which turns from the happiest night of his life to the most devastating memory, as the January 25th revolution breaks out on the exact same night. The riots end up destroying his wedding, and he and his wife (Dorra) both hide with no intentions of getting involved in what's happening.
They accidentally come across a neighbourhood gang that's planning to take advantage of the police's absence and lack of public security. After witnessing their plans, Tika is forced to join their next heist and become a member of the gang.
At one point, Tika gets involved in a nearby burglary and prevents the elderly George (Labeeb) and his family from harm by standing up to the thugs. With such a heroic act, the neighbourhood celebrates his bravery after things settle down a. As a result he is assigned as the neighbourhood patrol leader. Matters take a turn for the worse though, when Tika and his patrol members get thrown into jail after a misunderstanding, and get framed for a murder he didn't commit.
In relation to Saad's previous projects, Tek Tek Boom isn't as bad as we feared, but it lacks that one hook or gimmick that has usually carried his other films. As for the main plot, it jumps from one situation to another with no specific destination or realistic chain of connection. It's pretty exhausting.
In an attempt to tackle more dramatic roles as an actor, you'll be exposed to the cringing sight of Saad crying, hugging children and generally being a human being throughout. This is of course Saad's show, and all the other actors are quite peripheral. A real shame since Dorra in particular is able to combine charisma and comic timing in her role. Lotfy Labeeb and Gamal Ismail both play their parts well, but also get little screen time.
In short, Tek Tek Boom is far from Saad's worst films, but it is simply lacks on every level. You'll find yourself chuckling at most, and you may even enjoy his song about how he'd treat the Egyptian people if he was president.
Rough around the edges and not as ‘focused’ is it could be (ha!), the team behind entertaining, but flawed, 2011 rom-com, Crazy, Stupid, Love, apply the comedy treatment to action flick, Focus.
This is not by any means an intellectually challenging film, but, no matter how predictable and fluffy its premise may be, it still boasts plenty of energy and holds enough charm to maintain engagement.
Jess Barrett (Robbie) is an inexperienced grifter, who – after trying and failing to con the ultimate conman himself, Nicky Spurgeon (Smith) – insists that he take her under his wing.
As Jess slowly proves herself, she is recruited by Nicky and his crew, though their business relationship briefly turns into a romantic one; but after a successful one million dollar heist during the Super Bowl in New Orleans, they part ways, leaving Jess heartbroken.
Three years down the line, the story moves to Buenos Aires where Nicky is preparing another huge con – so huge in fact, that he seeks out Jess once more.
Slick and glossy, Focus is best enjoyed if you don’t think too much about its inner-workings; if you do allow yourself to get way inside its shallow mechanisms, however, you’ll almost certainly walk away feeling a little underwhelmed with the entire experience. The dialogue is quite often sharp and witty, but the film isn’t in the same mould as the recent heist-clicks like Ocean’s Eleven; there’s more of a focus on the two main characters and their evolving relationship and it can be argued that this is one of its biggest mistakes for the simple reason that there just isn’t enough room for complex arcs in a film that brings a very particular type of action movie together with comedy.
Despite this, there are still plenty of memorable set-pieces and, as the dexterous and charming Nicky, Smith is his usual magnetic self, though he doesn’t stray far from his usual routine. Standing strong by his side is his equally magnetic Aussie co-star, Margot Robbie, who once again proves that she is capable of holding her own amongst some of Hollywood’s biggest names. The pairing, though seeming inapt at first, carries the film through to be a one-hundred-and-four minute of easy watching – it’s a typical cinema-and-popcorn movie that doesn’t try to be more than it is.
Justin Reardon’s feature-length directorial debut, Playing it Cool, sees an attempt at bring some freshness and originality to the rom-com genre falling into the same old clichés.
Dreaming of one day becoming a successful action screenwriter, the main character of the piece – simply referred to as ‘Narrator’ and played by Chris Evans – isn’t all that enthusiastic about being handed the task of scripting a romantic comedy. See, he’s never been in love – a side-effect from his mother’s abandonment when he was only a young boy – and therefore, he’s unable to see himself writing something that he ‘doesn’t believe in’.
Enter ‘Her’ (Monaghan); a beautiful young woman he meets at a charity event. Sparks fly and he is instantly smitten; however, she’s already engaged to be married to handsome and aloof Brit, ‘Stuffy’ (Gruffudd). Powerless to get her out of his mind – a place filled with a vivid, and often dramatic, writer’s imagination – emotions soon spiral out of control and, well, you know the rest.
Desperately trying to swerve away from the lovely-dovey trappings of the genre, Playing it Cool is the kind of film that’s really difficult to pin-down. Is it a rom-com parody? Or, is it just another movie that begins by dismissing the very notion of romance before eventually falling into the very hole it’s been trying to avoid from the beginning? We’ll go for the latter. Already drawing comparison to movies such as Amelie and 500 Days of Summer – a notion that’s awfully difficult to grasp to begin with – the story lacks the charm, focus and the overall substance that made the aforementioned movies the cinematic success they are.
In fairness, though, the two leads do share some genuine onscreen chemistry; however, the movie’s relatively unexciting script is not smart, strong -or creative enough to take advantage of the fact. Monaghan is the stronger of the two; her charm is infectious and it’s easy to see why any guy would fall for her while Evans, who just doesn’t seem right for the role, tries his best to stick it out. However, just like the story itself, he just doesn’t seem comfortable in his own skin – stick to being Captain America.
Essentially, the problem here is that this is a film that tries too hard to be unique, quirky, ironically, doesn’t play it cool one bit.