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The Cold Light of Day: Bland, Confusing Thriller
For anybody planning to watch this for Bruce Willis, be warned- he’s barely in it. We instead spend the whole film following Cavill who plays his son Will who is the only member of the family left free to roam the streets of Madrid. Will’s family has been kidnapped due to Martin’s (Willis) work with the CIA. He’d taken a briefcase from the kidnappers and Will now has to find the bag, which he suspects is with his father’s double crossing partner Jean (Weaver), and get it back to them before they murder every last member of his family.
The film is, as a whole, painfully average but there’s one part in particular that’ll have you screaming in frustration; we never find out what’s in the freaking briefcase! People are getting killed left, right and centre over a plain, black bag. And no, this trick doesn’t give the bag some kind of epically dangerous aura; it’s just infuriating. But lack of clarity is a theme with this film. The fight scenes and car chases are murder to get through. In the former, you can barely see who’s hitting who because the shaky camera work and fast cuts, while the lighting in the latter makes it really difficult to tell the cars apart. Everything’s just so dark. The car chase, despite having some pretty cool scenes of cars rolling down stairs, is robbed of its tension because it’s so confusing.
Cavill joins the generation of actors who are beautiful to look at but incredibly bland. He just goes through the motions here as a man who discovers his inner badass when his family is threatened yet never really embraces those powers. Echegui plays Lucia, his shrieking female sidekick who, despite this unfortunate character flaw, is the most likeable person in the film. Rounding of the cast is Weaver’s Jean. She skirts the line between angry, irritated and insane yet never quite manages to form a compelling villain mainly because we don’t know anything about her or why getting her hands on the briefcase was worth selling out her partner. At the very least though, she’s a badass with a gun.
What the ads fail to show is that this ‘film’ is actually a feature length commercial for Audi to the point that in addition to the cars scattered around everywhere, there’s actually a huge billboard advertising the brand in the film. It’s astonishingly unsubtle but again, when a film is this dull and confusing, product placement becomes highly fascinating.
First, it’s important to establish that we cannot place the blame in its entirety on Ramez Galal for his sadistic show. A big part of the blame should fall on us, the viewers, who eagerly wait for pranks and spike the show’s ratings, even reaching the point where café owners will blast these shows on large TVs to attract customers. It’s time to admit that there’s a sadist in all of us.
The premise of the show is a guest will come in to film an episode about the World Cup on a zodiac boat out at sea. The boat malfunctions, one of the presenters dives in to see what’s wrong, and the events quickly escalate to the boat sinking with the guest and a fake shark attack.
In the episode with Rania Mahmoud Yassin and Mohamed Riad, it’s interesting to point out that the boat didn’t sink entirely, and Rania kept a firm clutch on her sunglasses in a situation where any normal person would’ve let go of his/her belongings in exchange for safety. We ignored these points at first, but after several mentions on TV and by other viewers, we couldn’t help but wonder.
The show comes with a lot of legal issues this year, of which, a case that Athar El Hakim filed against Galal, banning her episode from airing, under the pretence that the prank extremely frightened her. The truth behind that is in question, after a video of her discussing her pay for the episode was leaked. Other legal issues concerning the show include damage to marine life from planting metal poles to support the hidden cameras.
Because nothing is black and white, it’s important to admit Galal’s sense of humour and experience, especially when it’s imitated by an artist like Mohamed Fouad in his show “Fo’sh Fil Mo’askar”, a stale and completely void of humour prank show.
We have to admit, we were impressed by the shark boat Galal uses to rescue the guests. He is a smart actor who was able to establish himself within Ramadan TV and create shows that people wait for year to year.
One of the main reasons why 21 Jump Street – the 2012 reboot of the celebrated 80's TV-cop show - was such a huge box-office success was that it never took itself seriously. The sequel - perhaps one of the most anticipated comedies of the year - is smart enough to expand its comedic walking grounds and retain the same self-mocking attitude in the hilarious and entertaining, 22 Jump Street.
Directed by Phil Lord and Christopher Miller, 22 Jump Street starts off with a 'previously on' recap of the first film – a little homage to its TV roots - which finds partners, Jenko (Tatum) and Schmidt (Hill), successfully bringing down a high-school drug dealing ring.
After failing to arrest one of the most wanted criminals in the country, the duo is once again pulled back into Jump Street; the separately-financed program, run by the no-nonsense Captain Dickson (Cube). This time, however, their playground has been swapped from high school to college, where the unlikely duo must track down and put a stop to the spread of ‘WhyPhy’; a dangerous hallucinogenic that has already claimed the life of one student.
In order to fit in, the partners decide to enrol themselves in various classes and activities with Jenko going off to join the football team – and immediately bonding with the campus jock, Zook (Russell) - while Schmidt goes on to fall for art-major, Maya (Stevens). However, their relationship – and what they thought was an unbreakable bromance – is soon put to the test and if they are ever to locate the dealer and close the case, they must first find a way back to one another.
Calling 22 Jump Street a sequel is a little far-fetched as the only thing that has changed is the address. Everything else is pretty much the same. This rather clever angle, to an already established premise, is refreshing, as are the jokes and the ongoing gags that tend to mock its very own “bigger budget, bigger spectacle” premise.
One of the best things about 22 Jump Street is the onscreen pairing of Tatum and Hill, whose incredible charisma and easy chemistry. Hill, who was the shining star of the first film, seems to have taken a back seat this time around and even though his passive-aggressive attitude – and the downright hilarious ‘walk of shame’ scene – is an endless source of laughs, it’s Tatum who takes centre stage.
Funny and light, 22 Jump Street is far from perfect, but it is fresh, and most important of all, it makes you laugh.