Take Shelter (2011)

☆ ☆ ☆

Take Shelter (2011) – J. Nichols

A movie as full of pregnant moments as any I have seen.  Curtis (Michael Shannon) begins to have ominous visions of an impending storm which leads him to get a loan to expand the family’s underground storm shelter, complete with gas masks).  But all is not as it seems, Curtis’ mother has been diagnosed with paranoid schizophrenia (years earlier) and Michael fears that the same terror is descending upon him.  Shannon and Jessica Chastain as his wife demonstrate their strong acting chops as calamity sets in; coping with mental illness isn’t easy and even more so when you have a deaf child (played by Tova Stewart who is actually deaf).  But everything is portentous, looming in the future, and the movie takes its time showing Curtis unravelling in the small Ohio town where they live (destroying the important relationships they have with others).  The trick that director Jeff Nichols is trying to pull off is to treat this heavy material as a thriller – with its foreboding tone – and it works all the way up until it doesn’t. I mean WTF was that ending?  The screenplay invalidates itself in the final moments, undercutting the experiences of everyone onscreen, and concluding with no denouement.  I guess we still witnessed great acting tackling a real social problem but alas.

First Man (2018)

☆ ☆ ☆ ½

First Man (2018) – D. Chazelle

I enjoyed director Damien Chazelle’s last two films (La La Land, 2016; Whiplash, 2014) – he’s a master of film technique.  I also enjoy films that take place in outer space (e.g., Gravity, 2013; but not that one by Ron Howard).  However, First Man is rather grim; it is essentially a biopic of Neil Armstrong (Ryan Gosling) who, if this depiction is accurate, was an exceptionally serious man who kept his emotions bottled up and was distant from his family.  Gosling is solid in the part but it is hard to feel affection for Armstrong (even as he suffers the death of his daughter and many of his astronaut colleagues).  More sympathy is generated for his wife, Janet (Claire Foy), who suffers from his psychological distance and the risks that he is undergoing that threaten to traumatise her kids and destabilise their family.  But hey, this is the Space Race.  Chazelle does try to contextualise the events being shown with shots of protests (set to Gil Scott-Heron’s Whitey’s on the Moon), so it isn’t all awestruck wonder at the achievement.  But there is that too.  Chazelle’s technique carries us along as Buzz and Neil finally arrive on the surface despite some tension-building hiccups.  Hard to imagine how the real thing was accomplished with 50-year-old technology.  In the end, the film avoids being drawn on where we should be today, deciding to leave political questions aside in favour of a more trad biopic focus.  I’m still interested to see where Chazelle’s talent takes him.

Widows (2018)

☆ ☆ ☆ ½

Widows (2018) – S. McQueen

I’m not familiar with the original British TV series from the ‘80s that spawned this film but that didn’t reduce my enjoyment (even though or perhaps because it was transposed to Chicago). Liam Neeson is the head of a squad of thieves who get caught by the S.W.A.T. team in their final heist and blown to smithereens.  When those whose money was stolen (and blown up) come calling, the widows of the dead crooks, led by Viola Davis, use a notebook left by Neeson (her husband) to plan a new heist to pay them back.  Michelle Rodriguez and Elizabeth Debicki are the other two widows and Cynthia Erivo joins them as the getaway driver.  Colin Farrell also stars as the classic corrupt Chicago politician (inheriting office from his dad, Robert Duvall) who is competing with the local black gang leaders (Brian Tyree Henry and Daniel Kaluuya) for the seat.  It’s fun because women of colour aren’t usually in these roles and director Steve McQueen makes the most of the set-up – including with some plot twists and turns – but in the end, there’s nothing too deep here.  For thriller fans, something different!

Johnny O’Clock (1947)

☆ ☆ ☆

Johnny O’Clock (1947) – R. Rossen

Dick Powell made a successful career transition from “juvenile” singer/dancer (e.g., 42^nd Street, 1933) to film noir protagonist (e.g., Murder, My Sweet, 1944), with a surprising amount of edge and darkness in his later films.  But as Johnny O’Clock, a casino money-man, he seems unsure of himself in a role that requires him to be cold and selfish but also warm toward women in trouble and ultimately okay with a chummy police detective (Lee J. Cobb).  It’s possible that the events of the film have unsettled him:  his former partner, a bad cop who kills for the casino and wants a better deal, is now going over his head to the boss (Thomas Gomez) whose wife is Johnny’s ex (but still in love with Johnny who is uninterested). When the cop’s young girlfriend turns up dead, Johnny and the girl’s sister (Evelyn Keyes) investigate (as does Cobb) and fall in love.  Soon, Johnny’s on the outs with everyone and we know who is responsible, probably before he does (but he soon enough does).  Despite the interesting cast, there isn’t enough noir bite here – possibly because we can’t really like or dislike Johnny or even feel sorry for him.  First time director Robert Rossen would produce a real noir classic with his next film, Body and Soul (also 1947), aided by Abraham Polonsky’s script.  This one’s okay but if you’re new to noir, start your journey somewhere else.

  

In the Realms of the Unreal (2004)

☆ ☆ ☆ 

In the Realms of the Unreal (2004) -- J. Yu

Henry Darger's Outsider Art is groovy indeed, but somehow I got bogged down in this documentary (even at 80 minutes) but that could be, you know, MY problem. (2010 Review)

Let the Right One In (2008)

☆ ☆ ☆

Let the Right One In (2008) -- T. Alfredson

Chilly prepubescent Swedish arthouse vampire movie -- not scary, rather gruesome and, for me, somehow sterile and uninvolving. (2010 Review)

The Curious Case of Benjamin Button (2008)

☆ ☆ ☆

The Curious Case of Benjamin Button (2008) -- D. Fincher

In the old Hollywood parlance, this is what would be called a prestige picture (and a high concept one at that). You can see the money on the screen, in the computer wizardry and the often strikingly beautiful images. But the sentimentality drifts into schmaltz and the film feels too long by half. I also hope I never have to see another framing story with old people telling their kids about their lives (as we fade into voice-over...). (2010 Review)

The Seven-Per-Cent Solution (1976)

☆ ☆ ½

The Seven-Per-Cent Solution (1976) -- H. Ross

Sherlock Holmes meets Sigmund Freud -- but we get a middling adventure story rather than a scintillating intellectual tete-a-tete. (2010 Review)

Frozen River (2008)

☆ ☆ ☆ ½

Frozen River (2008) -- C. Hunt

Profoundly depressing but well-acted drama dealing with poverty, single motherhood, race relations, illegal immigration and acts of desperation. (2010 Review).

Hellboy II: The Golden Army (2008)

☆ ☆ ☆ ½

Hellboy II: The Golden Army (2008) -- G. del Toro

As far as slick fantasy action-adventure movies go, this one scores points for its tongue-in-cheek weirdness (thanks to del Toro). Amazing what they can do with a computer these days. (2010 Review).

Pat Garrett and Billy the Kid (1973)

☆ ☆ ☆ ½

Pat Garrett and Billy the Kid (1973) -- S. Peckinpah

Stoned 1973 Western from Peckinpah with surreal moments of art-directed beauty, anarchic violence, weird turns from star character actors, and a loping tour through the fading wild west. Dylan's upbeat score keeps it from being as elegiac as Altman's McCabe and Mrs. Miller, in a similar vein. (2010 review).

Harry Potter and the Sorcerer’s Stone (2001)

☆ ☆ ☆

Harry Potter and the Sorcerer’s Stone (2001) – C. Columbus

Aito’s Guest Review:  I rate Harry Potter and the Sorcerer’s Stone only three stars because the director dropped way too many scenes.  The characters looked different to what I expected and their voices were different as well.  I think the book was better because it had better scenes that I imagined. The movie was interesting so I might as well watch the second movie but I think the book was better. 

Art adds:  It was fun to watch the kids enjoying this film (despite what Aito says above).  Having not read the book (save for a couple of chapters that Aito read to me), I wasn’t as concerned about the fidelity of the film to the novel.  To me, it seemed to have the right tone of fun, mystery, and scares for kids of that age (9 and 6).  Perhaps Voldemort was even a bit too scary for Amon.  For me, it was fun to see familiar British actors in these roles (Richard Harris, Maggie Smith, Alan Rickman, John Cleese, and Robbie Coltrane who was especially good).  The music (already familiar) added to the magic.  I don’t know how I would feel watching this on my own, but seen through the boys’ eyes I would probably rate it higher than Aito does.

The Bank Job (2008)

☆ ☆ ☆

The Bank Job (2008) -- R. Donaldson

Entertaining enough as a by the numbers heist thriller but too many undernourished plot threads and a general lack of depth. But what were you expecting? (2010 review)

Christmas on Mars (2008)

☆ ☆ ☆

Christmas on Mars (2008) -- W. Coyne, B. Beesley, & G. Salisbury

Not surprisingly, the soundtrack (not rock, but ambient) is the best part of the Flaming Lips movie (even with the occasional mickey-mousing). Otherwise, low budget, amateur acting, sluggish pace, obscure plotline, but also some striking imagery, cool weird moments, allusions to 2001, Solaris, Eraserhead. (2010 review)

Gran Torino (2008)

☆ ☆ ☆ ½

Gran Torino (2008) -- C. Eastwood

Eastwood's films often feature incredibly leaden dialogue and not-of-this-world locales -- and Gran Torino is no different. But for warm hearted racist invective, look no further than this "updating" of the Dirty Harry character and see his salvation through the love of a Hmong family. But for all its heavy-handedness, it works.  (2009 review)

Sherlock Holmes and the Secret Weapon (1942)

☆ ☆ ½

Sherlock Holmes and the Secret Weapon (1942) -- R. W. Neill


Possibly I've just seen Secret Weapon one too many times (or it could be the jet lag) but this rendition of Basil Rathbone and Nigel Bruce attempting to outfox the Nazis seems just a cut below their usual high standard (for genre pics). The plot, freely adapted from Sir Arthur Conan Doyle's "Adventure of the Dancing Men", utilizes an alphabet substitution code that admittedly fits well into the wartime (not Victorian) milieu. Holmes dons not one, not two, but three different disguises to confuse and perturb the enemy (but not, of course, the audience). However, the insertion of Moriarty into the action creates a mishmash of story threads that don't really cohere, even if his dastardly tricks do provide some competition for our master sleuth. (2009 review)

The Da Vinci Code (2006)

☆ ☆ ½

The Da Vinci Code (2006) -- R. Howard

Lots of looks of consternation (or constipation) from Tom Hanks but in actuality not an awful time-waster, even if I did have to have the French and Latin translated for me from the Japanese subtitles. But I didn't read the book... (2009 review).

The Dark Knight (2008)

☆ ☆ ☆ ½

The Dark Knight (2008) -- C. Nolan

Comic book style thin plot with admittedly strong acting. A little too long I think -- and wouldn't violent anarchy really be scarier? (2009 review)

The Long Memory (1953)

☆ ☆ ☆ ½

The Long Memory (1953) – R. Hamer

John Mills is convicted of murder and locked away for 12 years, based on perjurious testimony by his girlfriend of the time, her father, and an ex-boxer hoodlum.  They testified that he killed a man aboard a ship that caught on fire when in fact the dead body found was of another man, wanted by the law and fleeing with the (paid) assistance of the girl and her father.  Upon his release from prison, Mills seeks revenge.  The movie tells the story of his attempt to find and exact his revenge on the three who wronged him.  Mills is grim and not dissuaded by others who counsel him that revenge is not good for the soul (including a Norwegian immigrant girl who falls in love with him and moves into his shack by the sea).  In an interesting turn of events, the police inspector (John McCallum) charged with investigating Mills’ actions is now married to the girl who lied (Elizabeth Sellars) leading to some serious conflicts of interest and bouts of conscience.  There are a few twists and turns that make this a gripping tale and director Robert Hamer even includes cross-cutting at the finale.  He’s best known for his Ealing comedy, Kind Hearts and Coronets (1949) but this is definitely in a different vein.  Here, the gritty streets of London, the lonely slum by the sea, and the desperate local pub sit side-by-side with the suburban home of the inspector and his wife. Yet, just as with Mills before, their comfortable lives prove to be precariously jeopardized by a lie.  Worth a look for Brit noir fans.   

The Counterfeiters (2007)

☆ ☆ ☆ ½

The Counterfeiters (2007) -- S. Ruzowitzky 

Accidentally rented this a second time and found it just as enjoyable as the first time (four years ago), despite the fact that it takes place in a Nazi concentration camp (and all the grimness that implies). Telling the story of a group of Jewish prisoners hand-selected for their printing skills in order to counterfeit the pound and the dollar, the film moves briskly with fine character turns and just enough suspense. The special features on the DVD reveal this to be based on a true story, from a book by Adolf Burger, one of the prisoners who subverted the Nazi plans, a book written to counter the holocaust deniers of recent times. Shame on them. (2009 review)

7 Up! (1964)

☆ ☆ ☆ ½

7 Up! (1964) -- P. Almond

Freedom versus discipline is suggested as one of the potential predictors of future differences in these 7 year olds from different backgrounds. We shall see... (2009 review)

The Illusionist (2006)

☆ ☆ ☆

The Illusionist (2006) -- N. Burger

Atmospherically spot on and traversing a fabled era...but somewhere things fell apart. The final flourish was far too swift and unfulfilling perhaps. More haunting than The Prestige (which also botches its ending) but that other film is narratively more interesting, methinks. (2008 review)

Spellbound (2002)

☆ ☆ ☆

Spellbound (2002) -- J. Blitz

Enjoyable doco...but I wanted more sociological inquiry and insights. A few choice looks at parental influence on kids but a chance to really use the spelling bee to explore diversity in the USA was squandered. (2008 review)

Munich (2005)

☆ ☆ ☆ ½

Munich (2005) -- S. Spielberg

Kind of unrelentingly grim...but directed as a suspenseful thriller (about assassination, so it is hard to identify...). Raises more questions than it answers, about terrorism, statehood, complicity, and so on. The twin towers of the World Trade Center in the last shot is anything but subtle...but hey this is Spielberg! (2008 review).

Hide and Seek (2005)

☆ ☆

Hide and Seek (2005) -- J. Polson 

On commercial TV last night. Genuinely creepy for the first 1/3 or 1/2, aided by a good performance by Dakota Fanning -- but then it descends and descends into cliche and stock thriller moves. I didn't see the twist coming, but it felt rather cheap rather than horrifying. (2008 review).

Ali (2001)

☆ ☆ ½

Ali (2001) -- M. Mann 

I watched this just after Spike Lee's Malcolm X...and it pales in comparison. Both are long biopics, both include Malcolm X and the Nation of Islam. However, Ali contains a lot of Michael Mann-styled boxing sequences (all color and light) and is more mood than story. I know, what did I expect? Voight's impersonation of Howard Cosell is grotesque. (2008 review).

Hot Fuzz (2007)

☆ ☆ ☆

Hot Fuzz (2007) -- E. Wright

From the team that brought us "Shaun of the Dead" and, like that film, this is both a spoof and a rather straight-faced take on the genre. Enjoyably British, but man the MTV style editing and bombastic score (save those Kinks songs) is Hollywood in overdrive. Is that part of the joke or a way of attracting the action audience? Not as good as it should have been (much like Shaun of the Dead). (2008 review)

Encounters of the Spooky Kind (1980)

☆ ☆ ☆ ½

Encounters of the Spooky Kind (1980) -- S. Hung

Here's Sammo Hung in a fore-runner to the immensely popular Mr. Vampire series (though only Lam Ching-Ying seems to be in both films, albeit in a different role). The Hong Kong star plays a loser who is cuckolded by his boss and then becomes the target of the boss's attempt to use witchcraft to kill him. This results in an episodic structure with Sammo confronting various spooks and zombies, using his kung fu skills to escape, if not defeat them. Ultimately, he is befriended by a good wizard to help him battle the evil wizard employed by this boss. Some truly creepy moments interwoven with action and silly comedy. (2008 review).

Bram Stoker's Dracula (1992)

☆ ☆ ☆ 

Bram Stoker's Dracula (1992) -- F. F. Coppola

Francis Ford Coppola also tried his hand at the (more than) twice-told tale. His is a stylistically indulgent version with a lot of eye-popping scenes that fortunately distract us from the two types of actors here: those made of ham (Gary Oldman, Anthony Hopkins) and those made of wood (Keanu Reeves, Winona Ryder). In comparison to earlier versions (with the best coming from Murnau and Herzog), Coppola foregrounds the sexual nature of the interactions between Dracula and his prey (and the immortal beloved romance with Mina). Unfortunately, the proceedings drag on a bit more than they should (a tighter version might have been at least a little exciting) and there is nothing at all scary to contemplate. On the plus side, the special effects have been lovingly created in the old school ways without CGI. Worth a look but the missed opportunities are disappointing. (2008 review)

Tremors (1990)

☆ ☆ ☆ ½

Tremors (1990) -- R. Underwood

Very amiable "horror" film (if you discount all the cussing and some very fake gore) depicting a small Nevada town attacked by giant worm creatures. Kevin Bacon and Fred Ward put in some great comic performances as the local handymen who lead the fight against the monsters. Michael Gross from Family Ties and singer Reba McEntire are also here as over-the-top survivalists. As always, seeing the characters do what you would do in the same situation keeps the film "real". A personal fave from way back and pretty rip-roaring still, if you are in the mood for this kind of thing. (2008 review).

The Lord of the Rings: The Fellowship of the Ring (2001)

☆ ☆ ☆ ½

The Lord of the Rings: The Fellowship of the Ring (2001) -- P. Jackson

After the second instalment of The Hobbit, I thought a return to the Lord of the Rings was in order. And the first thing to say is that the decade just past seems to have brought enough advances in CGI technology that this older film contains moments that seem phony in comparison (though not on the order of Hitchcock's back projection). However, this does not detract from its wondrous spectacle. The fight against the Balrog and the various attacks of the ringwraithes are still pretty great. However, the film seemed to drag a bit, with a few too many cute hobbit moments for my liking. Funny, since a whole book (detailing the necessary destruction of evil Sauron's one ring by a fellowship of nine, including a dwarf, elf, wizard, men, and hobbits) was contracted for the movie (whereas The Hobbit is a single book stretched across three movies). Nevertheless, when thinking about whether Tolkein was done justice by Peter Jackson, one can only conclude that it could have been far worse and these films are an exciting adjunct to memory - his long view of history seems intact -- but read the books first! (2008 review).

The Lord of the Rings: The Two Towers (2002)

☆ ☆ ☆ ½

The Lord of the Rings:  The Two Towers (2002) -- P. Jackson

Once started, I felt compelled to finish the Lord of the Rings trilogy, but with each film around 3 hours long, I'll admit it was a bit of a hard slog. I don't remember the books being non-stop battle, but perhaps Peter Jackson found it more enjoyable to film these orcs vs. men scenes, full of computer generated (and algorithmically controlled) characters. This gets a bit boring. However, some of the fantastical characters dreamt up by Tolkien, such as the Ents (or tree-herders), are still wondrous. The arc of the story and some of the dialogue seems vaguely Shakespearean at times, but these moments are too few and far between. (2008 review).

The Lord of the Rings: The Return of the King (2003)

☆ ☆ ☆ ½

The Lord of the Rings: The Return of the King (2003) -- P. Jackson

The final 3 hours (of nine in the theatrical release version of the trilogy - I passed on the super-long extended versions) wraps up the tale of Frodo Baggins and his quest to destroy the one ring of power (with a fellowship of 8 others) and thereby defeat Sauron the evil one. Again, it feels like a non-stop war movie with little time to catch one's breath, except when we cross-cut at regular intervals to parallel narrative threads (which is schematic but probably necessary and arising from the Tolkien novels themselves). The preponderance of characters introduced in the previous film do seem to become more solid here but Elijah Wood does nothing but grimace and the whole effect can be ponderous (although this may be due to my watching this a second time, albeit ten years later). The coda after coda of ceremonies and goodbyes are a bit much. To conclude, I warrant the books are better. (However, thus far I am enjoying the Hobbit trilogy more).  (2008 review)

Cockfighter (1974)

☆ ☆ ☆ ½

Cockfighter (1974) – M. Hellman

Given my aversion to animal cruelty (as a longstanding vegetarian – 29 years), it took me a while to get up the gumption to watch this.  But Nick Tangborn’s recommendation that it fell into the “downbeat Seventies” genre was enough to get me to proceed.  And truly Warren Oates is a wonder, creating an “existential” character without speaking a word (save for a few voiceovers). He’s taken a vow of silence after losing a chance at the Cockfighter of the Year medal due to his big mouth (and drinking).  Two years later, and after another serious “wipeout” defeat at the hands of Harry Dean Stanton (also great), Oates joins forces with Richard Shull to stage a comeback.  But, in a downbeat turn, his cockfighting puts him at odds with his true love (Patricia Pearcy).  That’s plot enough and the rest is all local colour and meaningful anecdote.  For example, Ed Begley Jr. turns up as a country boy who gets violent when his rooster loses, demonstrating his pre-St. Elsewhere versatility and Steve Railsback cameos as a cheat who gets banned from the contest.  Hellman’s direction, the location shooting, Michael Franks’ warbly guitar music, and Néstor Almendros’ decade-congruent cinematography complete the picture.  Yet, I won’t recommend that you watch this, due to the extensive cockfighting scenes (clearly the real thing), and to be completely honest, it doesn’t quite end up as downbeat as expected (although the life choices of these characters are surely revealing of some existential problems).    For a seriously downbeat turn from Oates, check out his next picture, Peckinpah’s Bring Me the Head of Alfredo Garcia.        

Phantasm (1979)

☆ ☆ ☆ ½

Phantasm (1979) – D. Coscarelli

Not as gory (or as scary) as I expected.  Instead, this is a very seventies-feeling low budget horror film, seen from a 13-year-old boy’s perspective.  In fact, there is a hint at the end that much of this could be a dream/nightmare (brought on by trauma).  This could explain all the surrealistic or nonsensical elements to the story, which is as follows:  A boy whose parents have recently died now has to cope with the death of a friend of his big brother’s (supposedly suicide but we “know” that it is murder).  He sees a mysterious tall man carry off the coffin instead of burying it and thus becomes interested in the funeral home which is later revealed to contain a portal to another planet/dimension.  The Tall Man (Angus Scrimm) seems to control some growling Jawa-like monsters and he’s pretty impressive/oppressive himself.  The big brother (Bill Thornbury) and his friend (Reggie Bannister) attempt to destroy the Tall Man who has also carried off some local girls.  Oh and there’s a grandmother who tells fortunes.  And sinister cars that chase our heroes.  And perhaps the tall man can morph himself into a sexy lady.  And there’s a flying silver ball that has razor blades that pop out and kill people.  Somehow it all holds together (despite the low budget, less than accomplished acting, and so on) but I’m not sure I need to see the 4 sequels, do I? I guess the fact that it does hold together despite its weirdness is what makes it a cult classic.

The Web (1947)

☆ ☆ ☆

The Web (1947) – M. Gordon

Edmond O’Brien is a lawyer at the bottom of the heap hustling for nickels and dimes for his clients who suddenly finds himself invited to be a bodyguard for rich industrialist Vincent Price.  But when he kills a man apparently out for revenge against Price, he starts to question whether he’s been set up (following some hunches by police detective William Bendix).  Ella Raines is Prices live-in secretary (and presumed lover) who somehow falls for O’Brien’s wisecracks.  We are never quite certain whose side she is on, if anyone’s.  However, both O’Brien and Price are too tricky for their own good.  I guess it must be O’Brien who is caught in Price’s web but this sticky thing entangles everyone in the cast.  Ultimately, it’s film noir... but without much desperation; O’Brien seems pretty easy-going about the whole affair.  Moreover, the cinematography is flat and unimpressive rather than the usual high contrast darkness and light.  Despite the star power then (and the not bad plot), this is just a run-of-the-mill genre flick, among many churned out in the forties and fifties.  But I love this genre.

  

OSS 117: Cairo, Nest of Spies (2006)

☆ ☆ ½

OSS 117: Cairo, Nest of Spies (2006) – M. Hazanavicius

Supposedly, this was a big hit in France at the time – and this is the team that went on to Oscar success with The Artist (2011) – but somehow this James Bond spoof didn’t touch my funny bone.  Yes, another James Bond spoof, although the hero, Hubert Bonisseur de La Bath, alias OSS 117 (played by Jean Dujardin), has a bit more in common with Maxwell Smart than with 007, even if he is made up to look like the young Sean Connery.  He’s not the brightest bulb and he sports an unreconstructed 1950s set of attitudes (the film takes place in 1955 but the filmmakers and screenwriters have at least updated their views).  Specifically, he takes a seriously colonialist approach to Egypt (and its women) but no one quite takes him seriously (fortunately).  The film is slick, with good production values, and had me wondering whether the actual Bond franchise is not all that dissimilar (in plot, at least).  OSS 117 is sent to Cairo to stop a religious uprising and find a missing Soviet ship carrying weapons.  His sparring partner is Larmina El Akmar Betouche (Bérénice Bejo, who went on to star in Asghar Farhadi’s The Past, 2013).  There are some recurring gags, a bunch of heavies, and the jokes are about the hero’s sexuality and his failure to understand Islam.  No one embarrasses themselves but it just isn’t funny. Perhaps that is enough said.