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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.
It should be pretty clear by now that if you’ve seen one Nicolas Sparks film - Notebook, The Last Song, A Walk to Remember - you’ve seen them all. Continuing in the trend of relentlessly sappy romantic melodramas, The Choice - adapted to the big screen by Bryan Sipe and directed by Ross Katz - will speak to those who are willing to listen. However, those who prefer their movies with a little less cheese might want to rethink their order.
Set in a small idyllic coastal town in North Carolina, the story is centred on Gabby Holland (Palmer); a medical student who has moved away from the chaotic city life for some peace and quiet while studying to become a doctor. Unfortunately, the peace she was looking for is not to be found as she has moved in next door to, Travis Shaw (Walker); a handsome veterinarian, who, along with his on-and-off girlfriend, Monica (Daddario), enjoys throwing loud parties and get-togethers, much to Gabby’s distaste.
At first, the two are at each other’s throats, with Gabby not withholding her obvious exasperation with the hunky neighbour. However, when their significant others - including Gabby’s boyfriend Ryan (Welling) - conveniently disappear from the picture for a few days, it’s not long before the two fall for one another.
Logic, common sense and reality, are nowhere to be found in this idyllic romantic setup, set along a sun-dappled coastline where each sunset is better than the next. For fans of this particular brand of romantic movie, what ‘connection’ the two leads manage to cultivate is satisfying enough. Unfortunately, for those who might be a little bit more grounded and connected to reality, this latest heavy serving of romantic sap just won’t do.
Sticking unremittingly to its formulaic mould, The Choice - boasting all of the worst romantic movie tropes under the sun - is the definition of derivativeness, featuring plenty of hand-holding, eye-gazing and corny romantic exchanges. The leads, although, pretty to look at – this is a Nicolas Sparks movie after all – are just not strong enough to carry the film through; Palmer’s overacting is bothersome at best, while Walker largely serves as the eye-candy of the piece.
All in all, those who enjoy the comfortable predictability that can be found in Nicolas Sparks stories, will definitely find something to like about the author’s eleventh book-to-screen adaptation. It’s everyone else that we’re worried about.
If you’re idea of ‘funny’ is watching Robert De Niro making a complete and utter fool of himself as a filthy and foul-mouthed senior on a ‘life-changing’ journey sexual pursuits, then Dan Mazer’s Dirty Grandpa is a must see. However, if you would rather spare yourself the torture of having the image of the legendary, Oscar-winning actor tarnished for good, then you are advised to look for your dirty laughs elsewhere.
The story is centred on Jason Kelly (Efron); an uptight corporate lawyer who, having given up on his dreams of one day becoming a renowned photographer, is now - rather begrudgingly - working for his controlling lawyer dad, David (Mulroney). When his grandmother dies from cancer, his grandpa Dick (De Niro) - a retired military mechanic whom Jason was really close to as a kid - decides to guilt his grandson into driving him from his home in Atlanta, Georgia down to Florida, so he can honour and fulfil his late spouse’s dying wishes who has asked him to let loose a little.
Only a week away from his essentially arranged marriage to the beautiful but bossy Meredith (Hough), Jason - not wanting to disappoint his recently widowed grandpa - reluctantly agrees. However, he soon discovers that Dick has other reasons for their little road trip, when, after running into a couple of Jason’s friends old from college – including the promiscuous hottie, Lenore (Plaza) – Dick persuades Jason to take a little detour through Daytona Beach; a popular spring break spot for college students, where he can do some serious skirt-chasing and, yes, get laid.
Dirty Grandpa - directed by Borat producer Dan Mazer and first-time screenwriter John Phillips - is neither funny nor smart and watching it unfold on the big-screen is a grating, painful experience. Instead of focusing on offering quality laughs, the film seems more interested in shocking throughout its one-hundred-minute runtime, which include a never-ending stream of racial slurs, genital-based humour and profane-filled one-liners that seem to be on the repeat for most of the movie.
Robert De Niro - in what has proven to be one of his worst roles of his career - is, well, very unlike himself and while some might find his sex-crazed and dirty-mouthed ways novel and, dare we say, entertaining, there will also be many of those who will feel nothing but embarrassment for the seventy-two-year old actor. Efron, meanwhile, is Efron and spends most of the time shirtless.
It’s a rather tiring experience and while its particular brand of toilet-humour has its audience, the sloppiness and the lack of trying in Dirty Grandpa is almost insulting.