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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.
The lingering effect of Sicario’s unrelenting and pitiless sense of anxiety will stay with its viewers long after it leaves the screen. Directed by Denis Villeneuve – see Prisoners – and astutely written by the T.V actor and first-time scripter Taylor Sheridan, this is one beautifully shot and tension-ridden action thriller that captures the reality – and cruelty – of the forever-ongoing war on drugs along the Southern US borders.
The story is centered on Kate Macer (Blunt); a skillful FBI agent who has been working on the agency’s kidnap response task force for the past three years. After successfully tracking leads in a kidnapping case, Kate and her team soon make the shocking discovery of a house full of dead bodies sealed within the house’s walls, leaving Kate and partner, Reggie (Kaluuya) wanting to seek justice for the crime.
The atrocious offence seem to be directly linked to a Mexican drug cartel organization, which Kate is soon tasked to track down and investigate in a covert operation across the border, with Department of Defense head, Matt Graves (Brolin). Unaware of what she’s getting herself into, Kate’s idealistic views on justice are soon challenged when she’s paired with a mysterious – and super silent – special-forces soldier named Alejandro (Del Toro) whose motives in the takedown of the Mexican kingpin Fausto (Cedillo) is unclear.
Boasting striking cinematography – courtesy of the twelve-time Oscar-nominee Roger Deakins – Sicario is one seemingly dark and poetic piece of cinema which has the power to entertain and horrify at the same time. Its far-reaching, bird-view shots of the vast and eerily empty Arizona desert - as well as the precarious and fraudulent streets of Juarez, Mexico – is captivating and demanding of attention; peeling your eyes away from the screen is not so easy to do.
Keeping its intentions well-hidden, the script is complex, twisted and action-heavy; the scene of vehicles whizzing through the streets of Juarez is nerve-racking and intimidating to watch unfold, with Villeneuve using the silence as the base for the startling and sudden bursts of action.
Anchoring the film with an intense and fiercely committed performance is The Devil Wears Prada’s very own Emily Blunt, who is absolutely superb as the idealistic FBI agent whose somewhat naïve and unrealistic views come crushing down right before our very eyes. Watching her unravel beneath all of the cruelty and injustice involved with the underground drug-war, is satisfying and often heartbreaking to watch while her co-stars, including Brolin as the super cocky head of mission and Del Toro as the mysterious war dog, both did their parts with a fittingly unswerving and dedicated attitude.
Exceptionally silent and disturbing, Sicario – which translates to ‘assassin’ – is an outstanding piece of art and an intriguing action-thriller that questions human decency, morality and ethics when faced with a life-or-death situation. It’s a must, must-see of the year.
If you are in the mood for an uncomplicated, lighthearted and a feel-good romantic-comedy viewing, then Nancy Meyers is the one to turn to for help. Known for movies such as Private Benjamin, Something’s Gotta Give and The Holiday, the 65 year-old writer-director – who is often referred to as the female version of Woody Allen – always delivers and she does so again with The Intern: a likable cross-generation comedy that is kept afloat by a dependably engaging script and a couple of amiable lead performances.
Set in New York City, The Intern is centered on Ben Whittaker (De Niro); a 70-year-old widower who has become frustrated with the retirement lifestyle and is desperate for something to fill that ‘hole’ in his now, mundane and predictable everyday existence. Luckily, his prayers are soon answered, when he comes across an advertisement for a senior internship program at an online fashion company, founded by the high-strung CEO, Jules Ostin (Hathaway).
Ben applies and is soon accepted, ultimately landing a spot as Jules very own personal assistant. However, Jules is not so keen on the idea and doesn’t really know how to deal with the unusually well-mannered senior, deciding its best to keep him at an arm’s length. Nevertheless, Ben – an extremely patient man who may not be particularly tech savvy but knows a thing or two about life– soon finds a way to get closer to his boss and offer her the much-needed support, just in time when her career and position of power is at stake.
There is something awfully comforting about watching a Nancy Meyers film, as not only are her movies pleasing to the eye –her movie sets have ended up wondering onto the pages of numerous decorating catalogues over the years – but there is also something terribly gratifying in knowing how her stories will turn out in the end. Straightforward and extremely likable, the same goes for her latest directorial effort, a movie which may not be on the same creative level as Something’s Gotta Give perhaps, but still has plenty of its own harmless charms – no matter how far-fetched they may seem – to earn a warm viewing recommendation; a stamp of approval aimed mainly at a slightly older audience.
Stuck somewhere between a buddy-comedy and a romantic drama, The Intern is not entirely flawless and Meyers seems to have had a little trouble in setting out an even tone throughout; additionally, the subplot involving Rene Russo – who plays the company masseuse– is never really looked into or explored. However, it’s the two leads that keep The Intern from falling apart as both De Niro and Hathaway bring so much heart and chemistry to their respective roles that it makes it awfully difficult not to be drawn into their white-collar world.
Easygoing, likeable and perhaps a little too safe, The Intern is not Meyers’ best work to date but, it’s reliable and entertaining. What more do you need?