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Geddo Habibi: Cringingly Irritating Egyptian Comedy
Fekreya (Boshra) is a British-raised Egyptian who insists on being called Vicky. Completely broke and out of her job after the stock market crash, she decides visit her estranged grandfather Hussein (Yaseen), who is on his deathbed in Egypt. As his sole heir, she stands to inherit a fortune which would effectively cure her financial woes. Predictably, she gets to Egypt, meets her granddad and after a thorny adjustment period, they become best buds.
The film kicks off with an awful opening credits sequence that really sets up how irritating Vicky’s character is. It was during this sequence that this reviewer first found herself cringing; something that would be repeated quite frequently throughout the rest of its running time. The film’s first act involves Vicky and her roommate harping on about the money Vicky stands to inherit if her grandfather would just die already. The movie paints the roommate as the more awful of the two, although Vicky is every bit as distasteful.
The middle of the film revolves around twenty-something Vicky’s friendship with a bunch of teenage boys and the problems this poses for her grandfather who thinks it isn’t proper. Cue a bunch of partying scenes and her granddad coming home to find kids making out and a random guy offering him a spliff.
The final act has Vicky and her granddad tracking down a former flame of his who, lo and behold, has a grandson who would be perfect for Vicky. This is when the film takes an inexplicable turn for the preachy which, all things considered, is still a definite upgrade to everything that preceded it. It extols, quite heavy-handedly, the virtues of real-love marriages as opposed to arranged ones, and gives Vicky the happy ending she’d been dreaming of forever; a husband.
678 had Boshra showcasing some decent dramatic chops and this reviewer would like to implore her to stick to drama because her comedic timing is completely off. Vicky was something along the lines of a manic, grossly materialistic person until she falls in love and suddenly calms down. It’s a very unlikable character and one that’s frankly highly irritating mainly due to the thrashing around that passes as physical comedy. It was the visual equivalent of nails on a chalk board. On the plus side though, Boshra has a pretty decent English accent.
The rest of the actors didn’t fare much better. Yaseen looks remarkably healthy and active for someone who’s knocking on the doors of death, while Abdel Aziz looks distractingly botoxed and is made up to look like a raccoon. Meanwhile, Fahmy is so bland that he barely registers on screen.
The actors involved in this movie are capable of so much better which makes this wreck even more depressing.
Unlike the first two films in the wildly popular cinematic adaptation of Suzanne Collins’ young-adult novels, The Hunger Games: Mockingjay Part I –the first instalment of a two-piece finale – is an underwhelming and slightly hollow watch.
Mockingjay Part I begins shortly after the end of Catching Fire, which saw Katniss Everdeen (Lawrence) pulled out and rescued from the games by game-maker, Plutarch Heavensbee (Hoffman), and mentor, Haymitch Abernathy (Harrelson).
Brought underground and aided by the District 13 rebels – led by President Alma Coin (Moore) – Katniss is asked to serve as the face of the growing revolt against President Snow and his tyranny over Panem. However, getting the young-rebel on board is not easy, as Katniss – whose beloved home district was levelled by Snow’s bombers in the previous instalment – is still trying to overcome the loss of her fellow District 12 champion, Peeta Mellark (Hutcherson), who has now become a prisoner of the Capitol.
Desperate to bring Peeta back to safety, Katniss soon agrees to become the ‘Mockingjay’ and operate as a symbol of hope and resistance for the people of Panem.
Just like Harry Potter and Twilight – other similarly structured franchises that have split the big finale into two or three parts – Mockingjay Part 1 feels abrupt. Granted, it’s unfair to judge a two-part film as, essentially, one arc is running through both, but a film released on its own can only be watched on its own and this first part spends its two-hour-plus running time setting up the pieces of the puzzle and building up the story with no payoff.
This is somewhat remedied by returning director Francis Lawrence’s focus on big battle scenes, though once again, there’s no real payoff, no punch-line.
One thing that won’t be put into question is another engaging, emotional and an overall solid performance from Oscar-winning actress, Jennifer Lawrence, who manages to keep the story kicking, regardless of its awkward pacing. Other returning faces, which included Hoffman, Harrelson, Hutcherson and Banks, are all equally reliable and, as the determined President Snow, Sutherland is once again a strong and a dependable villain.
Given the reasonable star-power behind it, much was expected of The Angriest Man in Brooklyn – loosely adapted from a relatively unknown film titled, The 92 Minutes of Mr. Baum.
Directed by Phil Alden Robinson – see Sum of All Fears – and written by Daniel Taplitz, the film is centred on Henry Altmann (Williams); a crabby family man and a real-estate broker who’s prone to raging outbursts which sadly, have resulted in estranged relationships with his wife, Bette (Leo) and son, Tommy (Linklater).
After a series of medical tests and examinations, Henry soon meets Dr. Sharon Gill (Kunis); a seemingly worn-out doctor who informs him that he has suffered an aneurism. She adds fire to the fuel by telling her unstable patient that he only has ninety-two minutes to live.
Henry rushes out of the hospital and quickly hits the road of redemption. In an attempt to mend broken relationships with Bette, his son, Tommy, and brother, Aaron (Dinklage), Henry needs to hurry before it is too late.
Undecided on what it wants to say, The Angriest Man in Brooklyn is probably one of the most bewildering and cringe-inducing films of the year. Lost and with little structure behind its premise, the film – just like its main character – spirals out of control pretty quickly and one too many ideas, stories and subplots are thrown into the mix, without ever giving it enough room or time to explore them.
Nonetheless, watching Williams in action is always interesting, no matter how crazy and the late Oscar-winner is once again given free reign and even though, he does go a little overboard with the theatrics at times.
Draining, lazy and painfully sloppy, The Angriest Man in Brooklyn is likely to throw viewers into fits of rage, too. An understandable reaction to sitting through eighty-three minutes of nonsensical and unfunny blabber.