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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.
Based on 2009 Oscar-winning Argentine film titled, El Secreto de sus Ojos, Billy Ray’s Hollywood adaptation of the original looked promising from the get-go thanks to its first-class cast. Nicole Kidman, Julia Roberts and Chiwetel Ejiofor are a formidable team and the plot – at least on paper – has enough gravitas to it to produce something solid. Unfortunately, it doesn’t quite work out that way.
As the man behind the screenplay to 2013’s Captain Phillips, Ray also penned the adaptation and opens proceedings in 2002 with FBI Agent, Ray Caston (Ejiofor), working together with friend and partner Jess Cobb (Roberts) in LA’s counter-terrorism taskforce one year after the events of 9/11. Together with Deputy DA Claire Sloan (Kidman) the task force is busy investigating an L.A-based mosque, looking for any possible criminal activity.
Everything soon changes when, during one of their surveillance routines, Raymond and Jess discover a murder victim near the mosque which turns out to be Jess’ teenage daughter. Thirteen years later, no one has been convicted of the murder, pushing Ray to take matters into his own hands after stumbling on new leads.
Jumping back and forth between 2002 and 2015, Secret in Their Eyes worksin terms of mood and setting; a film noir-like backdrop effectively conveys the grim topics. However, even though the film manages the moving timelines with a great deal of efficiency, there’s a formulaic and unimaginative approach to the basics of the plot which strips it of having any real impact. In addition, one too many subplots - including a romantic entanglement between Kidman and Ejiofor which never really sells - are introduced and instead of focusing on the working relationship and the bond between Ejiofor - a commendable lead - and Roberts - who is captivating as the grieving mother but, criminally underused - the film seemingly lends its focus on more trivial details.
Interesting but never as captivating as its synopsis suggests, Secret in Their Eyes is a decent dramatic thriller, but falls well short of the original – but then what remake ever does?
The fourth and final instalment in The Hunger Games film series is upon us and director Francis Lawrence has injected the closing chapter of Suzanne Collins’ best-selling dystopian adventure with a bit more heart and oomph than from what was witnessed in the first and rather dreary half of this two-part tale. However, although Mockingjay Part 2 is definitely a better and more exciting offering, it’s still not completely free of fault.
Mockingjay Part 2 picks up where Part 1 left off, with Katniss Everdeen (Lawrence) trying to recover after almost being choked to death by her former ‘lover’ and ally, Peeta (Hutcherson), who by the looks of things, seems to have been brainwashed and poisoned with thoughts of killing Katniss. Driven by the anger and her pure hatred for President Snow (Sutherland), Katniss soon escapes District 13 to join an assault on The Capitol under rebel leader, President Coin (Moore), only to discover that there is one last version of the Hunger Games still to play.
One thing’s for sure; Part 2 is a definite improvement over Part 1, which spent most of its time shifting about and setting things up for the big payoff. It’s a problem that we’ve seen before in the waves of adult-fiction novel adaptations – the first half spends so much energy in setting up the second that it fails to convince a stand-alone film. Although the pace picks up, there’s no sense of grandness to what is meant to be a huge finale and, actually, some may even feel underwhelmed by how the plot plays out.
On the plus side, the action is engaging and some of the battle scenes are staged with great attention to detail. In addition, Lawrence is, as always, her fantastic self and she’s once again the anchor on what has been a shaky ship.
As a story which has always attempted to frame the horrors of war through the eyes of a fiercely brave young heroine, so much more could have been done – much like the whole series, there’s something engaging about the finale, but it all feels like a chance missed.