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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 many Americans still picking Thanksgiving turkey out of their teeth and others already embarking on Christmas shopping, Jimmy Hayward’s Thanksgiving-themed, animated comedy, Free Birds, is the first of what will almost certainly be a production line of hastily put-together films capitalising on the festive season.
Meet Reggie (Wilson); a nonconformist turkey who has always been viewed as an outsider for his ‘radical’ thinking. The idea of having himself – and the rest of his fellow-turkeys – fattened up for the upcoming Thanksgiving festivities, is a notion that doesn’t sit too well with Reggie. He continuously tries to warn everyone of their imminent slaughter, but his warnings go unheeded. That is until they realise the stark reality of their situation and throw Reggie under the bus to save their own necks.
However, much to his surprise, Reggie ends up being the White House’s ‘pardoned turkey’ and is soon sent off to Camp David to live the good life; lots of TV and a great deal of junk food.
One night, he’s approached by Jake (Harrelson); a cheeky and rebellious turkey who informs him that there’s a way of travelling back in time to the very first Thanksgiving, where they can take Turkey off the menu for good.
Intrigued and fascinated by the possibility, the duo soon find themselves jumping into the secret government machine, named S.T.E.V.E (voiced by Takei), and travelling back to 1621. They quickly learn, however, that becoming ‘free birds’ is going to take some serious work.
While the idea behind Free Birds might sound solid on paper, the final result is not. Essentially, this is not a film that holds the wide appeal of the likes of Toy Story and Finding Nemo. Kids will love it, though adults will probably find the cutesy humour and inattentive storyline difficult to engage with. Moreover, the endless-parade of product placements and tiresome references to other, unquestionably better, films only serves to undermine it.
The film’s only redeeming feature lies with its two leads. Owen, in his usual carefree and offhand style, injects the character of Reggie with enough likeability, while Harrelson approaches his character with conspicuous willingness and excitement. The rest of the cast is equally deserving of praise, especially Poehler – voicing Reggie’s love interest – who brings zesty and feisty personality to her role.
Despite Free Birds’ good intentions, this underdog story – or in this case an underturkey, if you will – would have been a lot better if it spent a little bit more time in the oven.
Malcolm D. Lee’s sequel to his 1999 directorial debut, The Best Man, reunites fans with the now much-older college friends as they prepare for the upcoming Christmas holidays.
The film picks up fifteen years after the events of The Best Man, centring on Harper Stewart (Diggs); a one-time successful author who is struggling to make ends meet. Fertility treatment bills for his now pregnant wife, Robyn (Lathan), have set the couple back and Harper is unable to rely on the money from his decreasing book sales.
Meanwhile, his former best-friend and celebrated NFL star, Lance Sullivan (Chestnut), is on the verge of retirement. A devoted family man who shares his life with loving wife, Mia (Calhoun), and their four picture-perfect children, Lance puts his energy into having one last hurrah to cement his legacy before he steps out of the spotlight
With Christmas is just around corner, Mia sends out invitations to their shattered group of friends to spend the holidays with her and the family at their lavish estate; troubled couple, Julian (Perrineau) and Candace (Hall), party-girl and a reality TV star, Shelby (De Sousa), career-obsessed commitaphobe, Jordan (Long), and bad boy, Quentin (Howard).
Naturally, it doesn’t take much for tensions to rise, and the group soon finds itself between dealing and healing old wounds, which ultimately resurface questions of deceit, infidelity and secret sexual pasts.
The Best Man Holiday’s biggest strength lies in the hands of the cast, whose chemistry and wit infuse soul into the story. At the heart of it all is Diggs, who delivers a sincere performance of a man in search of forgiveness, while Lathan – as his pregnant wife – is just as charming in her role of a woman trying to support her husband through troubled times. Chestnut is a tad theatrical in some of the film’s more emotionally-charged scenes, unlike Calhoun, who handles her role with a welcome grace. However, the true star of the picture is Howard; funny and incredibly engaging, the Oscar-nominated actor has some the best lines and steals the show.
With so many characters, each with their own personal sup-plot and arc, the film strikes the perfect balance between them and every character gets apt screen time.
Although the story ends up bouncing from the funny to the dramatics in a blink of an eye towards the end, Lee manages to keep things interesting, despite the predictable plot and cheesy sentiment.