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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.
There are few actors that commit to their roles as much as Benecio Del Toro, no matter how small; the Puerto Rican actor is approaching his fiftieth birthday, but only seem to be getting better with age, as he demonstrates quite spectacularly at times as one of the most infamous drug-lords of the past century in Escobar: Paradise Lost.
While the title would suggest this is a film documenting the remarkable life of Escobar, it’s not; in fact, he’s almost plays an antagonist in the film – and that’s the movie’s biggest problem. While it never pretends to be an Escobar biography, Del Toro is simply more interesting than the main narrative, which switches from romance, to thriller, to gun-toting action in its 120 minute running time.
Hunger Games’ Josh Hutcherson is technically the lead and the young actor takes on the role of a Canadian thrust into Escobar’s world after he falls for the Colombian kingpin’s niece, played by little-known actress, Claudia Traisac.
While Hutcherson occasionally injects the character of Nick with the right kind of youthful naivety, he cowers in the presence of Del Toro’s portrayal of Escobar, relegating the character to nothing more than a bit-part player – both in Escobar’s world of crime and in the context of the film. It disrupts the flow of the film somewhat; while Hutcherson and Traisac’s on-screen romance takes centre-stage in the first third of the film, by the time Escobar is injected into proceedings, Del Toro’s sheer magnetism leaves little room for you to maintain interest, let alone root for, Hutcherson’s character.
As the directorial debut of Andrea Di Stefano, this is a solid piece of work from the Italian director – but at the same time, there’s a lingering sense that suggests that this project could have been so much more if the eponymous character was also the main one – such is Del Toro’s charisma and Escobar’s endlessly remarkable life story.
Shot entirely in Panama, everything looks as it should be and it further contributes to the aesthetic domain of Escobar, where Nick, rightly, stands out like a sore thumb. But by the end of the film, one can’t help but wonder what Di Stefano and Del Toro could have achieved with an adjusted script.
Like Tina Fey and Amy Poehler before her, Amy Schumer is the in comedienne in Hollywood right now and her first major role couldn’t have come under the conductorship of a better person; Judd Apatow. The man who had a hand in The 40-Year-Old Virgin, Knocked Up, Superbad and Anchorman is comedy royalty in Hollywood and, as a director, has a knack for bringing out the best in his actors with his very character-driven comedies and does exactly that with Schumer, giving her a perfect platform to introduce herself to the world.
There isn’t exactly much that you could call innovative with the plot of Trainwreck and so all of its enjoyment is owed to the actors themselves. The story follows Schumer’s character, also named Amy, and her toil and trouble in the game of love. Barely functioning as an active member of society, Amy drinks to get drunk, smokes to get high and jumps in bed with strange men to forget – all that despite being in a relationship with a gym-rat ably played by WWE wrestler and occasional actor, John Cena.
Through her work with a magazine, she comes to meet a sports doctor, Aaron Conners (Hader), and end up falling for each other, with the only potential obstacle standing in the way of a future together being Amy’s fear of commitment.
Again, there’s not a lot about the plot that will blow you away; two lovers-to-be come to fall for each other in unlikely circumstances, an event brings to light a problem with one or more of them which builds a barrier between them, before one of them has the courage to make a compromise and they live happily ever after. It’s the basic template that all romantically infused films are based on and there’s no getting away from it, especially when thrown in a hotpot with comedy.
But it’s Schumer and her supporting cast – as well as that Judd Apatow touch – that keep the viewer engaged in what is otherwise a pedestrian story. The humour is sharp and witty, but, most importantly, the characters are very relatable, with the script not falling back on clichés. The viewer isn’t expected to see the characters through rose-tinted shades; it doesn’t boil down people to good or bad; they’re just human.
More important than all that, however, is that Trainwreck is funny, ridiculous, but at times endearing – a perfect recipe for a rom-com.