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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.
Well-deserving of all the attention it’s been getting, James Marsh’s Theory of Everything – an emotional and a rousing look inside the life of one Professor Stephen W. Hawking and his loving but, turbulent thirty-year long marriage to Jane Hawking – is nothing short of wonderful.
Sourced from Jane’s 2008 memoir, Travelling to Infinity: My Life with Stephen, the story begins in 1963, with an exceptionally charming twenty-one physicist, Stephen Hawking (Redmayne), on his way of pursuing his doctorate from the University of Cambridge.
It is there that he first meets the beautiful literature-major student, Jane Wilde (Jones); a devout Christian whose outlook on life – and science in particular – doesn’t necessarily fall in line with his more agnostic and mathematical assessments of human existence.
Just as the love between the two begins to blossom and Stephen begins preparing for his final thesis, he discovers that he is suffering from motor neuron disease; an illness that will soon begin to take away his ability to walk and talk, amongst other things. Having been given only two years to live, the young and the highly-intelligent physicist – whose thirst for knowledge and passion for life refuses to surrender – slowly begins to challenge his weaknesses. However, as he continues to grow professionally, his life at home with Jane – who is single-handedly carrying his physical limitations on her frail shoulders – begins to show signs of despair.
While this is in fact a biopic – a simple and a straightforward one at that – which celebrates the life and work of Hawking, it is also very important to note that this is not a story that goes deep into his rise to fame as the renowned physicist we know today. It’s a much smaller scale story of love and compassion and a one focuses on human endurance, courage and, most of all, hope.
The Theory of Everything is shot beautifully and a real sense of romanticism and nostalgia – driven by a sensual and a tear-jerking classical score – can be felt throughout. It’s an emotionally-rich drama that, although sometimes can feel a little too sugary, manages to stay grounded. It is, to a large degree, thanks to Redmayne’s extraordinary performance audiences will be able to appreciate what is an insightful and meaningful peak inside the private life of one of the most respected and remarkable minds living today.
There’s quirky and then there is the outright ridiculous. Unfortunately, it’s the latter that best fits Johnny Depp’s Mortdecai performance.
Based on Kyril Bonfiglioli's 1973 book anthology, Don’t Point that Finger at Me, the film follows the eccentric and the unconventional life of swindling British art dealer, Lord Charlie Mortdecai (Depp), who seems to have fallen into a financial rut. His lavish family estate – which he shares with his wife, Joanna (Paltrow) – is now in danger of being taken away from him and his long list of clients have caught onto his deceitful ways.
To make things even worse, Charlie soon finds himself at odds with Joanna, who is refusing to speak to him until he gets rid of the ridiculous handlebar moustache.
It’s not until Inspector Martland (McGregor) – Charlie’s old college roommate – shows up asking for help with a murder case that’s linked to the theft of a lost Goya painting that things begin to look up. Hoping that the finder’s fee will help him, Charlie – with the assistance of his loyal manservant, Jock Strapp (Bettany) – soon finds himself trotting around the globe looking for a painting that is not only valuable, but one that may lead them to a hidden treasure of gold.
Adapted to the screen by Eric Aronson, Mortdecai’s story is overly complex and disjointed to the point of complete and utter breakdown. The pace is relatively brisk and the gags – mainly involving Charlie’s moustache – are aplenty; however, the jokes are forced and never really hit their mark, leaving the whole development of the plot a little exhausting.
Depp – someone who has grown accustomed to odd-ball roles such as this – seems to be happy to step into the part of the eccentric British aristocrat, however, his usual charm and irresistible unconventionality seem to be a little on the off-side. Lacking originality and character, Depp is a babbling mess while Paltrow, McGregor and Bettany, were all a little lost in their respective roles.
Succumbing to a series of cheap gags and an ongoing barrage of humourless quips, Mortdecai – probably best described as Austin Powers meets James Bond – feels like a missed opportunity considering its accomplished and talented cast.