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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.
Unnecessarily complex and generally lacking in excitement, The Legend of Tarzan is the latest attempt to reignite interest into what still remains a household name. Unfortunately, the legendary fictional characters to exist fails to really register with modern movie audiences in part due an overly complicated and overstuffed premise which never managed to translate into entertaining spectacle it should be..
The film is set in 1980 and it begins several years after Tarzan (Skarsgård) - now going by John Clayton III - has decided to leave the jungles of Africa behind for a life as a British aristocrat, alongside his wife, Jane Porter (Robbie). However, he is soon drawn back into his former habitat when he receives an invitation from King Leopold II of Belgium to return to Congo as a trade emissary for the House of Commons.
Accompanied by American statesman, George Washington Williams (Jackson), the Lord of the Apes soon finds out that his travelling companion actually wants his help in investigating the rumours that King Leopold is using slave labour to colonise the country and exploit its resources.
After agreeing to the mission, Tarzan, Jane and Williams make their way to Congo but soon cross paths with Captain Leon Rom (Waltz); a ruthless leader in charge of overseeing King Leopold’s operations whose devious plan - involving tribe leader Chief Mbongo (Hounsou) - forces Lord of the Apes to strip back and return to his feral form.
Scripted by Adam Cozad and Craig Brewer, there are far too many illogical hurdles and obstacles thrown at the story which, when stripped down, is the kind of classic hero-coming-to-the-rescue tale you’ve seen before. Set against a flimsy premise, the film boasts a needlessly complicated and a confusing two-way narrative storyline; one exploring the origins of our hero and the other celebrating his superhero abilities in a standard damsel-in-distress setup, all while trying to give weight to the plot with the real-life historic events involving Washington’s investigation into Leopold’s involvement in Congo during the 19th Century.
Directed by Harry Potter’s David Yates, the action sequences are executed well and there is a certain visual slickness in the effects. However, moments of less sophistication and a lack of creativity seep into the mix - the 3D is once again completely unnecessary - giving the movie a seemingly fake and unpolished feel.
Performance wise, all eyes are on Skarsgård, who proves to be a physically fitting choice for the role. However, his inability to evoke many emotions proves to be rather damaging to the picture which, in the end, is not anywhere near as adventurous, funny or exciting as it thinks itself to be.
As far as remakes are concerned, Paul Feig’s reboot of the 1984 supernatural comedy classic, Ghostbusters, is one of the better ones out there. Arriving twenty-seven years after the release of the first sequel, the Bridesmaids director has been given the honours of reintroducing the story to the modern audiences of today. The result? An entertaining and an admittedly funny reboot which, although nowhere near as spunky as the original, still has its own charms to lean back on.
The story begins with Dr. Erin Gilbert (Wiig); a respected physics professor who is only days away from receiving tenure at the Colombia University. However, she is soon pulled back into her previous life as a paranormal investigator when her old friend Aby Yates (McCarthy), who has decided to re-publish the book about ghosts they wrote together many years ago without her permission, returns to her life.
Worried what the release of the book might do to her academic career, Erin decides to confront Abby. However, she soon finds herself joining her old friend - and Abby’s new research partner, Jillian Holtzmann (McKinnon) - on a paranormal investigation at a reportedly haunted-house, during which they experience their first ghost-sighting.
Unfortunately, their encounter is labelled as a publicity stunt, forcing the three ladies - who soon welcome MTA employee, Patty Tolan (Jones) into their team - to create a plan of capturing ghosts as proof they exist. Meanwhile, creepy hotel janitor, Rowan (Casey) has been busy planting devices around NYC with the intention of opening the portal between the living and the dead.
Those who were not exactly on board with the idea of the all-female remake might not be completely taken in by Paul Feig’s latest attempt of bringing a modern twist to the beloved ghost-chasing franchise. However, the story’s amusing and refreshing stance, as well as its energetic vibe and slick special effects, are, overall, strong – the sum of its parts are, at least.
Stepping in for an all-male lead cast are four undeniably funny female comedians who show the willingness and the confidence in carrying the movie. Offering plenty of laughs and ghost-ass-kicking skills, McCarthy - delivering a pleasantly reserved performance - and Wiig are the strongest of the bunch with Jones and McKinnon falling as a close second. Unfortunately though, pointless cameos from the original cast never really resonate and actually distract and Casey’s villain is not as, let’s say, villainous as the story demanded him to be. In addition, the running gag on Hemsworth’s version of a dumb-blonde secretary is funny but, wears out thin pretty early on.
Nevertheless, Ghostbusters still manages to deliver. Embracing the spirit of the original whilst playing with its own modern bearings, the story serves to be a solid and thoroughly enjoyable take Ivan Reitman’s supernatural classic that even most of its hardcore haters might find hard not to love.