THE DICTATOR

THE DICTATOR
Written by Sasha Baron Cohen, Alec Berg, David Mandel and Jeff Schafer
Directed by Larry Charles
Starring Sasha Baron Cohen, Anna Faris and Ben Kingsley


Nadal: When the thought of decapitating someone’s head doesn’t make you feel good, that’s love.

When a movie opens with a proclamation that is dedicated to the honour of the now deceased, former dictator of North Korea, Kim Jong Il, you know that what is about to follow is certainly going to be some of the most outrageous footage you’ve ever seen. THE DICTATOR, the latest Sasha Baron Cohen comedy vehicle, delivers this without flinching and the laughs, assuming you’re willing to go to all of these horrendously offensive and borderline racist places, follow in side splitting droves. I’m not sure what this says about me exactly but I had no problems going there and I was having such a good time, I didn’t want to leave.

Hailing from the fictional Republic of Wadiya, a Middle Eastern country where it is sunny year round according to their weather forecast, the Supreme Leader, Admiral General Aladeen (Baron Cohen), rules without any question or concern for how he treat his people. As he has people executed left and right, he is also plotting to trick the United Nations into thinking his nuclear capacity will be used to better the world instead of destroying it. Upon visiting the UN in New York City to continue his long con, he is replaced by a lookalike Aladeen and an attempt his made on his life, by the order of his right hand man (Ben Kingsley). While he tries to get back to his position of power, so that he can stop Wadiya from (gasp) becoming a democracy, he falls unexpectedly for Zoe (Anna Faris), who is of course the nicest person in the history of humanity.

Still under the direction of BORAT helmer, Larry Charles, THE DICTATOR marks Baron Cohen’s transition from mockumentary to scripted comedy. It’s a fairly smooth one and most certainly a marked improvement after his last similar outing, BRUNO. While the laugher and shock factor remain in tact though, the bite is a little less severe. This is because THE DICTATOR does not capture the visceral immediacy that BORAT did when it exposed people’s dark and dirty souls without them realizing. Instead, the underbelly of humanity is brought to light here in an oversimplified and often cliched manner, preying on the audience’s more inherently ignorant points of view on Middle Eastern culture, including my own apparently. In the end, THE DICTATOR provides the big laughs but it does so so easily that it eliminates any need for real thought on the subject, making it an excellent comedy but only a so-so satire.

HUGO

Written by John Logan

Directed by Martin Scorsese

Starring Ben Kingsley, Sasha Baron Cohen, Chloe Grace Moretz and Asa Butterfield

Isabelle: We could get into trouble.

Hugo: That’s how you know it’s an adventure.

Before any image even appears on screen, master filmmaker, Martin Scorsese, sets his scene with the sounds of his central character, Hugo Cabret’s life. Clocks are ticking, gears are clicking and trains are passing. These are the sounds one knows well when one lives behind the faces of clocks in a grand Parisian railway station. Once Scorsese shows us the images to match his intriguing soundscape, there is no escape. You are instantly taken on a 3-Dimensional journey that floats high above the snow-filled Paris sky and swoops seamlessly into the busy station. The magical ride that is Scorsese’s HUGO has begun and you won’t want to get off.

As Hugo, played by the talented young actor, Asa Butterfield, darts in and around clock gears and busy crowds, it is immediately clear that HUGO features some of the best, if not the best, 3D work to emerge from its current renaissance. In the hands of a skilled and dynamic filmmaker like Scorsese, the levels of depth added to the screen are dazzling. It certainly helps that Hugo’s journey, based on the Brian Selznick picture book, and the setting in which it takes place, are so rich and colorful to begin with. The train station where Hugo lives is populated not only with travelers but quirky, if not somewhat cliched, characters, and his unintentional interaction with them leads him on an adventure he hopes will heal his tormented past. It isn’t long before Hugo soon learns that he’s not the only one whose past haunts him.

While Scorsese’s intuition as a filmmaker lends itself incredibly well to the 3D format, his ability to tell a focused story is somewhat lacking here. Famous for hard hitting gangster films and tortured characters, his first foray into family filmmaking is certainly exciting but somewhat misguided. At times, it isn’t clear whose story he is actually telling. Is HUGO about a boy, orphaned after the recent loss of his father (Jude Law), struggling to find a way to move on, or is it a love letter to the great film masters of the past? Scorsese plays homage to film history throughout HUGO and, in doing so, he accomplishes two things. For one, he honours his influences with great style while bravely bringing film itself forward with his own commendable technique. The unfortunate offshoot though is that he seems to distract himself from the story at hand with his own visual prowess.

REVIEW: Cars 2 (C)

(dir. John Lasseter and Brad Lewis, 2011)

Regardless of what you hear, there is a lot to enjoy about Disney and Pixar's newest film, Cars 2.  But, in line with what you've heard, there's also a lot to not enjoy.  Much ado has been whispered and shouted in regards to the reason this film was made.  It's well documented (including in an hour-long documentary) that the original Cars was a passion project for director and Pixar creative master John Lasseter, and the film just happened to become a hit with children (if not the critical masses) and a merchandise Goliath.  So is the sequel to Pixar's least-favorably-reviewed film a project of passion or dollar signs?

Answer: It doesn't matter.

As with all Pixar films, we start with the adorable protagonists, erstwhile upstart and now reformed race-car Lightning McQueen (Owen Wilson) and stupid is as stupid does best pal Mater (Larry the Cable Guy).  In the original, McQueen was the star, and in a curious and ultimately successful move, Mater has become the chief hero of the sequel.  Long story short, in the throes of a worldwide World Grand Prix race sponsored by alternative fuel icon Sir Miles Axlerod (Eddie Izzard), Mater is mistaken as a high-class spy and hilarity ensues; well, it almost ensues.

There are some funny parts.  A rather clever scene wherein Mater eats pistachio ice cream, only to find out he had really eaten a scoop of wasabi (you know, the things adults get and kids don't).  There are fun parts even; the races are visually stunning and the battle sequences are awe-inspiring.  A particularly strong opening sequence (seemingly borrowed right from the storyboards of a James Bond flick) gave me hope for the rest of the picture.  But it's the overarching aspects where the film falters.  There's no real emotional core, you struggle to really care about anyone aside from Mater, and there's no cohesively strong theme to the piece.  In the end, it's just a "see, your stupid friend can do stuff, if only by accident" story.  All new and old characters are bland and mostly forgettable, from the barely-there McQueen to the new Mater love interest Holley Shiftwell (voiced, presumably while napping, by Emily Mortimer).  New driving rival Francesco Bernoulli (a Formula-1 car voiced by John Turturro) is a recycling of Turturro's character from The Big Lebowski and Sasha Baron Cohen's foreign racing rival from Talladega Nights.  It was just...fluff.  Devoid of the heart and soul we've come to expect not only from Pixar, but from all good animated films.

Cars 2 feels so empty, even if it is full of color.  For all the disdain most give the original, I respect it for what it was.  It had heart, and that heart belonged in the characters of Radiator Springs, and the town itself.  Cars 2 takes half the lovable characters out of the equation and transplants McQueen and Mater to Italy, Japan, and London.  There's no love or connection with these cities; visually, they're amazing, but the characters have zero connection to them. And in a wanderlust sequel to a film that was originally all about the importance of a small town, this feels like a misguided ripoff.

I saw this movie with five children, four of which literally worship the ground all things Cars walk drive on.  They laughed a lot, and when we left they said it was the "best movie ever," and that they "loved Lightning."  And, in the end, I guess that's the point isn't it?  For animated films at least, to entertain children and take them to another world that's fun and where cars can fly.  So what if their parents, siblings, or film critics thinks the movie is stupid, they get a kick out of it.  For so long now, animated films have surprised us by not being just animated films, but something greater.  So when they're not, we're disappointed, and we miss the point of them to begin with.  GRADE: C