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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.
Arriving in cinemas in a tornado of controversy, the behind-the-scene chaos of Paul Schrader’s Dying of the Light is much more interesting than the film itself. The man who penned classics like Taxi Driver and Raging Bull was quick to distance himself from the project ahead of its release after some rather sticky backstage problems with the producers.
Centred on bitter veteran C.I.A agent, Evan Lake (Cage), the thriller is essentially a revenge story, with the hero of the piece holding a ceaseless grudge against at-large terrorist, Mohamed Banir (Karim).
After his employers begin to push him into retirement, his young protégé, Milton Schultz (Yelchin), finds a lead on the whereabouts of Lake’s long-time nemesis, sending the two on a perilous hunt in Kenya.
Six or so weeks before its release, Schrader posted a message on his official Facebook page, reading "We lost the battle.’Dying of the Light,' a film I wrote and directed, was taken away from me, reedited, scored and mixed without my input."
It’s something that becomes apparent pretty soon into the film, with the film’s cinematographer, Gabriel Kosuth, also washing his hands of the released version of the film, saying that he was “denied the possibility to accomplish in post-production what is any cinematographer’s duty.”
Whatever the claims may be, the reality of the final outcome is farcical. Nothing about Dying of the Light makes sense; everything about the narrative feels rushed, over-explained and inflated by its seemingly bizarre and hard-hitting score.
In the middle of the mess is poor Nicolas Cage – a man who will, more than anyone else, suffer the butt of ridicule for the universally panned film. In the actor’s defence, there’s little anyone could have salvaged from the train-wreck film and even the most skilled of actors would have struggled to come out of this looking anything but ludicrous.
There are moments where Cage’s trademark subtle grit falls into place with the storyline and just the very notion of a damaged and imperfect agent is a timeless set-up for any thriller; unfortunately, regardless of the clash between Schrader and the producers, this is still a bland, unintelligent thriller – and that word should be used in the loosest sense.
Although there are moments of genuine hilarity to be found in the follow-up to the delightfully raunchy 2011 comedy, Horrible Bosses, it’s hard not to wince at just how eager and desperate it is to please.
Directed by Sean Anders – who also co-wrote the script along with John Morris – Horrible Bosses 2 once again follows the turbulent, and at times abstract, lives of Nick (Bateman), Kurt (Sudeikis) and Dale (Day); three good friends who, after successfully managing to free themselves of their ‘horrible bosses’, are now contemplating starting a new business together with their invention, the Shower Buddy; an elaborate and ever-so-slightly ridiculous shower head inspired by car washes.
Their efforts attract the attention of wealthy retail tycoon, Bert Hanson (Waltz), who offers to fund their business if they can produce 100,000 units. After taking out a loan, renting a warehouse and hiring employees, Hanson takes the stock but back out of the deal, leaving the three friends in six-figure debt.
Considering that their previous plot of murdering their bosses didn’t quite go as planned, the three friends decide to go in another direction; kidnap Bert’s extremely spoiled and arrogant son, Rex (Pine), and ask for a hefty ransom. However, their seemingly bullet-proof plan goes haywire when Rex – a shady figure like his father – quickly turns the tables on the dim-witted threesome with a devious scheme of his own.
Just like many comedy sequels – see Hangover II, Dumb and Dumber Too – the payoff is never quite as satisfying as the first-time around. Relying on the same brand of humour, Horrible Bosses 2 just isn’t as funny as its predecessor and becomes repetitive pretty early on – particularly the crass rape jokes.
Only Chris Pine comes out of the other end with any dignity, bringing his deliciously devious character to life, with the always brilliant Christoph Waltz needlessly tarnishing his recent rich vein of form with what is a completely unnecessary sequel. Though the cast is packed to the rim with popular and likeable actors, all seem to be going through the motions – though the blame for that should fall squarely on the monotonous, tedious and cringingly uncreative script.
At its very core, the film is flawed. Those who wronged our three heroes in the first film were to be condemned to murder. This time round, the son of the man who did them wrong is condemned to a kidnapping. Sequels should build and go bigger than the original; Horrible Bosses 2 bafflingly aims lower.