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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.
With films like Hunger Games, Divergent and Twilight finding unbridled box office success, adult feature film adaptations have, to some extent begun, to reach saturation and the latest proves exactly that.
The Maze Runner builds on a genuinely intriguing dystopian setting that fails to offer anything new to the genre as a film, despites the interesting premise of James Dashner’s 2009 book.
Directed by first-time filmmaker, Wes Ball, the story follows Thomas (O’Brien); a young man who finds himself waking up with amnesia and surrounded by an army of equally curious young men. He soon learns that he has woken up in the Glade; a sprawling savannah that is towered off by high – and maze-like – concrete walls.
Just like Thomas, the boys, led by Alby (Ameen) – who has been stuck in the Glade for the past three years – are unable to recall who they are and how they got there. The increasing number of new arrivals eventually led the confused boys to build a functioning mini-society of sorts, that depends on ‘runners’ – the fittest, fastest and most agile of the group – to race into the maze each day and look for a way out. The task is made all the more daunting by the fact that the gates that guard the maze close buy sundown and no one dares imagine what could happen to anyone who gets stuck there with the large monsters known as Grievers who patrol the maze at night.
Thomas initially has a hard time believing the myth, but realises the severity of the situation when one of the boys’ life is put into danger. The group is soon thrown into complete chaos when the first girl to arrive at the Glade, Teresa (Scodelario), shows up with a threatening message, making the boys realise that they can no longer wait for a miracle but, that they themselves must find a way to escape – and fast.
The Maze Runner marks the first and the opening chapter of a planned three-part series that once again sees a group of teenagers fighting for their lives against a mysterious and much superior force. To its credit, though, the story is fairly engaging, as the plot builds on a similar premise to William Golding’s 1954 novel, Lord of the Flies.
The film succeeds in projecting a deliciously claustrophobic tone and the characters are likeable, while even the action is pretty solid throughout.
However, the film plays out like an intro to the series and those who haven’t read the book might feel a little cheated by the fact that the character of Thomas is never really explored and short-changed by the abrupt - and calculated - finale.
Overall, The Maze Runner is a decent, if unremarkable, first chapter to the series and now the pressure is really on for the second.
Hollywood funny-man Vince Vaughn finds himself stepping into another underachieving man-child role in the latest comedy offering from director Ken Scott, Delivery Man. Typecasting aside, this remake – of Scott’s own French-Canadian indie-hit, Starbuck (2011) – manages to retain most of the original’s quirky charm.
David Wozniak (Vaughn) is a charming yet incredibly irresponsible truck-driver who delivers meat for a living. Working alongside his boss and father, Mikolaj (Blumenfeld), and his two, slightly more dependable brothers, Victor (Delaney) and Alesky (Moynihan), David has always been labelled as the black sheep of the family.
Well known for his tendency of taking stupid business risks, David is not only in hundreds of thousands of dollars of debt to a group of thugs, but he has also just found out that his cop girlfriend, Emma (Smulders), is pregnant with their first child.
David is not given much time to adjust to his newest life-changing circumstances; he soon discovers that he is father to over five hundred children. You see, years ago, David was a regular donator at various sperm banks in exchange for cash and the consequences of his actions have come back to haunt him.
Out of his five hundred and thirty three children, one hundred and forty two have filed a law-suit find their prolific father. Naturally, David ignores the legal advice of keeping a low profile, and soon jeopardizes the legal proceedings by going undercover to meet his biological off springs.
Being his usual fast-talking, humorous self, Vaughn doesn’t find himself venturing out of his comfort zone in Delivery Man. Despite failing to deliver gravity and weightiness to some of the film’s more heartfelt moments, he’s still able to carry the plot with familiar wit and charm. As the supportive best-friend, Pratt is incredibly funny, whilst the rest of the supporting cast all offer reliable and a whole-hearted performances.
Adapted from an indie-feature to a full-blown Hollywood remake, Delivery Man succeeds in delivering just enough to do the original justice; however, those who might have already seen the original may have a few doubts. The jokes are there, and although only a few are deserving of real laugh out loud moments, they still manage to entertain.
Unfortunately, Delivery Man is a predictable, one-dimensional Hollywood production. But then again, it’s also pretty harmless and light-hearted; an easy watch, if you will.