Sign in using your account with
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.
Spooks: The Greater Good, the big-screen treatment of the long-running BBC television series, comes almost four years after the show’s exit from the small-screen. Known for its devastating twists, fans of the original show will be pleased with Bharat Nalluri’s commendable effort, although those who aren't familiar with it, might feel a little lost in the process and even a little underwhelmed with the end-result.
The adaptation sees Peter Firth reprise his role as the unflinching and emotionless MI5 chief, Sir. Harry Pearce, and the film opens with a long opening credits sequence showing Pearce taking the heat for the escape of a Middle Eastern Terrorist, Adem Qasim (Gabel) during a botched prison transfer from MI5 to the CIA. Taking full responsibility for the escape, he is soon forced to resign from service and, as a result, fakes his own suicide and goes rogue, which triggers an investigation. The man given the find out what happened to Harry is – dramatic pause – his former protégé, Will Holloway, ably played by Game of Thrones hunk, Kit Harrington.
Written by Jonathan Brackley and Sam Vincent, there’s a distinct sense of grittiness and realism that is often missing from similar productions across the pond in Hollywood. The tone is applied well to what is a heavy mix of traditional and modern elements of espionage films and the twists and turns are aplenty – perhaps a little too many to keep a steady track of. But the urgency behind each and every one of them can be felt throughout. Sadly, however, the film’s faults are of its own doing; produced on a relatively modest budget, it tries a little too hard to impress and it’s only when it tries to move things into the kind of grandeur and ambitious action set-pieces associated with its Hollywood peers that it falls a little short.
Firth, who has been playing the same role for the past ten years, is unsurprisingly convincing as the ex-MI5 Head of Intelligence Chief, though Harington doesn’t shake off his pretty-boy persona enough to be as affective. Visually, the film is a winner and the silvery-blue aesthetic it’s coated in perfectly communicates the murky winters of London and the aforementioned gritty tone. There’s a lot to commend in Spooks: The Greater Good, but at the end of the day it offers nothing new to the genre and it’s big-screen adaptation just needed to be more daring and step out of the confines of television.
Trying to recapture the heart, wit and all-round musical grandeur of its 2012 predecessor, Pitch Perfect 2 sees actress-turned-filmmaker, Elizabeth Banks, sit in the director’s chair for her very first feature film. But as is so common with sequels, Banks’ directorial debut is a little off-key and not or as comically refined.
Following their success and three consecutive wins at the A Cappella U.S nationals, the Barden University Bellas are riding high. Led by Beca Mitchell (Kendrick) and Chloe Beale (Snow), the Bellas have been travelling the country on a victory tour, which also happens to include a very special stop at the Kennedy Center, where the group performs for President Obama and other a cappella enthusiasts.
However, things don’t go exactly to plan and when a rather unfortunate wardrobe malfunction involving Fat Amy (Wilson) labels the group as a national disgrace and the Bellas are mortified to learn that they will no longer be allowed to compete or admit any new members to their ensemble as a result.
Devastated by the outcome but equally determined to regain their former glory, the Bellas – who have been currently replaced by their rival team from Germany called Das Sound Machine on the victory tour – are now left with only one choice; win the global a cappella championship or be cast aside forever – dramatic gasp!
Delivering bigger and bolder musical numbers, Pitch Perfect 2 ticks the boxes on the musical entertainment front and the cleverly-constructed mash-ups seen in the previous film will leave any loyal Barden Bellas fan giddy with joy. However, the script isn’t without its problems, written by the 30 Rock’s Kay Cannon, the plot is unfocused and unpolished; everything feels a little overstated and the humour – especially those involving Das Sound Machine –
doesn’t seem to be as focused or as polished as before and although, there was plenty of reason given for the story’s comeback to the big screen, it feels a little overstated and the jokes – especially anything involving any Das Sound Machine member – are quite crude. Even the character of Fat Amy, who was the comedic heart of the original, becomes worn early on. Essentially, there seems to have been little or no character development and, generally, it's too much of the same.
It also doesn’t help that Kendrick’s role has been somewhat downsized in order to make room for Steinfeld who plays Emily Junk; an eager freshman hoping for a place in the squad.
If there’s one thing you can count on, it’s that Pitch Perfect 2 will still score big at the box-office and many will be able to turn a blind eye, and a deaf ear, to its inoffensive, but equally infuriating, flaws. Don’t be surprised if a Pitch Perfect 3 comes to fruition.