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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.
Sinister looking children’s toys – dolls and puppets in particular – are a common feature of many a horror film, often somehow possessing dark demonic powers. Annabelle, the latest horror of such kind and the prequel/spin-off to the last year’s summer hit, The Conjuring, unfortunately is rather dull.
Directed by John R. Leonetti – of The Conjuring, Sinister and The Mask fame – and written by Gary Dauberman, Annabelle is set in the early 1970s and follows Mia (Wallis) and John Gordon (Horton); a young married couple living in Santa Monica, who are expecting their first child.
One night, their next-door neighbours are killed as a result of a satanic cult home-invasion job. Unfortunately, the drama doesn’t end there and they soon end up victims of a similar crime, but after a certain amount of struggle – and blood spilled – the couple manages to come out alive.
Soon after their traumatic ordeal, their home – that they’ve grown to love and care for – begins to suffer a series of supernatural occurrences and after it becomes a little too much to handle, they decide that it’s best to move. Unfortunately, trouble follows them to their new home and John and Mia soon realise that Mia’s prized collector’s doll might have something to do with it all.
Annabelle starts off strong, with Leonetti and Dauberman weaving a decent amount of tension and suspense into the opening. However, although, their ideas are relatively solid – and some of the scares genuinely frightening – the plot soon become repetitive and what little novelty the premise has wears off pretty darn soon.
In terms of performances, both Wallis and Horton managed to sustain a good amount of chemistry; however, their characters – just like the story – aren’t formed well enough to form a connection with the audience.
Riddled with clichés and familiar formulas, Annabelle is little more than an attempt to cash-in on the success of its much more convincing and entertaining predecessor.
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.