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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.
Despite the familiarity in The Gift’s conventional, and somewhat predictable, stalker-thriller setup, Joel Edgerton – who writes, directs and stars as the lead – has managed to deliver a quiet and lingering psychological drama that isn’t all bad.
Tired of Chicago and its relentlessly cold weather, Simon (Bateman) and Robyn (Hall) have decided to move to Simon’s hometown of Los Angeles and make a fresh start. Purchasing a modern and uniquely designed home, Simon – a sales executive working for a computer security firm – soon begins his new corporate job, while Robyn – an interior-designer dealing with a case of mild depression – works from home and take care of their dog, Jangles.
During one of their shopping outings, the pair runs into Gordo – short for Gordon - (Edgerton); a socially awkward high-school classmate of Simon’s who wishes to reconnect with his old bud - and his wife - by showering them with gifts and unexpected house visits. Robyn is instantly intrigued by Gordo’s peculiar ways and wishes to get to know him better while, Simon is annoyed with his presence and wants nothing to do with him. Uncomfortable with the way Gordo is smothering Robyn with attention, Simon soon confronts him and asks him to leave them alone; however, Gordo is not willing to go away so easily.
The Gift marks the directorial debut for the Aussie actor, Joel Edgerton –previous screenwriting credits include 2008’s The Square and 2013’s Felony - who successfully handles the job at hand and delivers something that is both intriguing and beautiful to watch. Maintaining a sense of surprise and a hefty dose of stalker-induced tension, The Gift is far from an original piece of storytelling – Edgerton is happy to borrow from other similarly told thrillers – however, even though if the plot plays out as expected, there is still a certain element of surprise and allure to keep everyone engaged.
On the downside, however, the idea to incorporate the cheap – sometimes relatively effective – jump scares Blumhouse Production is known for, is what downgrades The Gift’s initial potential, while a couple of subplots are left totally unexplored. Luckily, the commitment from all three actors is what helps keep The Gift with its head above water at its with both Hall – as the somewhat lonely and insecure woman dealing with anxiety – and Edgerton – as the subtle and terrorising weirdo - coming out on top. Bateman, known for his deadpan humour, is given the opportunity to showcase his more dramatic side and for what it’s worth, he does so brilliantly.
Anchored by a few strong performances and an intriguing central story, The Gift is certainly not without a fault, but it’s got enough about it to leave it lingering in your mind after the credits roll.
Despite being another seemingly generic entry from the endless production at Blumhouse Production - see Paranormal Activity, Sinister, The Gallows - M. Night Shymalan’s The Visit is an oddly enjoyable and surprisingly affective found-footage horror.
The film follows the story of two siblings, fifteen-year-old Becca (DeJonge) and thirteen-year-old Tyler (Oxenbould), who decide to head out to rural Pennsylvania to spend a week with their estranged grandparents, Nana (Dunagan) and Pop Pop (McRobbie). The last time their mother, Paula (played by the always reliable Hahn), had seen her parents was fifteen years ago when she left home for good and now Becca - an aspiring filmmaker - is hoping to document their entire visit and shed some light on the longstanding separation.
Excited at the prospect of finally getting all of her questions answered, Becca and Tyler - who helps her to make sure that every angle and frame is fully covered - try their best to make the most out of their visit. However, something seems to be off with Nana and Pop Pop who, after the lights go out, begin to show a much darker side to their already peculiar personalities.
Creepy more than scary, The Visit marks the director’s lowest budgeted feature film to date and although it can’t hold a candle to his 1999 hit, The Sixth Sense, for example, it feels like Shymalan has once again found his footing after a series of duds - think The Last Airbender and After Earth.
Tapping into a familiar concept and turning it into a thoroughly frightening and an ominous experience is what makes The Visit shine. Subtle, simple and refreshingly straightforward, Shyamalan also manages to blend in a light dose of humor into the proceedings and, even though some of the scares can be seen from a mile away and the shaky-cam work does get a little disruptive, the overall result isn’t all that bad.
Delivering a couple of convincing performances, both DeJonge - as the intelligent and extremely grounded older sister - and Oxenbould as her wannabe-rapper younger brother are engaging as the victims-to-be, though Dunagan and McRobbie steal the show with their quietly eerie and wildly unpredictable representation of grandparents-gone-gaga.
Never taking itself too seriously, The Visit is a watchable and undemanding faux-documentary thriller that many have attached the word comedy too. There is definitely a lot to appreciate in this creepy little number, however, if you’re not a fan of this particular sub-genre, then you’re probably better off looking for your frights elsewhere.