World News – CA – Movie Reviews: ‘Borat Subsequent MovieFilm’ Will Make You Laugh, But It’s Also Designed To Make You Think


Richard crouse
Contributor, CTV News Channel and CTV News Digital


Anyone who has ever said, « That’s nice, » with a large, unidentifiable accent, or who wore a bushy fake mustache or, horror of horrors, donned a fluorescent Mankini swimsuit thong for a day at the beach n ‘ will not need to be introduced to Borat Sagdiyev

Fourteen years ago Kazakhstan’s most famous journalist, the comic creation of Sacha Baron Cohen, spawned a million Halloween costumes and ten times as many inappropriate bad impressions

Now, in a world of fake Borats, the real deal returns « Borat Subsequent MovieFilm, » which airs exclusively on Amazon Prime Video, once again blurs the line between comedy and tragedy, fact and fiction

New film begins with a chance for redemption After the events of the first film, Borat was thrown in prison, an embarrassment for his country and his family His son is so ashamed that he changed his name from Sagdiyev to Jeffrey Epstein Only his daughter Sandra Jessica Parker Sagdiyev (Irina Novak) still chatting with the family patriarch

The action begins with the release of Borat from prison, cleaned and sent again to « Yankeeland » on a mission His job is to earn the respect of Donald Trump by giving the gift of a monkey to « Deputy Prime Minister Pence » When Borat arrives however, the monkey has left its packing box In its place is Sandra « My daughter is here », Borat reports in Kazakhstan « Should I give her as a gift? »

So, begin the journey which will see Borat and Sandra meet a cast of real-life characters who offer a dignified glimpse into Western culture. There is an Instagram influencer who teaches Sandra to be submissive to increase her appeal to men

Then two MAGA men take Borat to a rally where he performs a country song: “Journalists! Who wants to inject them with Wuhan flu? / Chop ’em up like the Saudis do ”—Which elicits cheers and right-handed salutes from the crowd And then there’s a debutante“ fertility dance ”that redefines the term OMG

These scenes are as edgy and wriggling as the humor, but the footage everyone will be talking about sees an interview with Donald Trump’s handy personal lawyer Rudy Giuliani It starts with Rudy asking, « Have you ever eaten a bat? » and get off from there This is the most outrageous of the film’s many must-see moments

You can’t often describe a comedy as scary, but « Borat Subsequent MovieFilm » is that movie

Baron Cohen’s daring work is often hilarious, but it’s the danger that accompanies his stunts that turns the material from funny to fearless. His work is “Candid Camera” with a sharp edge; a sharp satire that mixes undercover real-life reporting with aggressive and often tasteless humor It’s both a high-end expose on the dark underbelly of this US election year and a low-key comedy that will do anything to get you to laugh

Much like the year it was released, « Borat Subsequent MovieFilm » is a chaotic and uncomfortable experience that will make you laugh, but it’s also designed to make you think

Glen Keane brings 43 years of experience animating Disney characters to a new movie streaming on Netflix From « The Little Mermaid » Ariel, « Beauty and the Beast, the main character – the Beast, not Beauty – to eponymous characters from « Aladdin », « Pocahontas » and « Tarzan », he is the Disney legend who created some of the most indelible characters of several eras

This week, as character creator and director, he turns to “Over the Moon,” a whimsical animated musical inspired by the Chinese legend of Chang’e, starring the voices of Sandra Oh, Phillipa Soo and Ken. Jeong

The action begins in modern China, four years after Fei Fei’s mother (Cathy Ang) passed away.She is smart, funny and romantic who believes in the legend her parents told her about Chang’e (Phillipa Soo), the moon goddess who longs to regain her true love Fei Fei is still grieving the loss of her mother when her father (John Cho) becomes involved with another woman Ms. Zhong (Sandra Oh) and her child from 8 years old, Chin (Robert G Chiu)

To prove that love is everlasting and that her father’s affection for Ms. Zhong is misplaced, Fei Fei concocts a plan.She builds a rocket to visit the moon so that she can get evidence of Chang’s existence. ‘e to prove to his father that love burns forever Unbeknownst to her chin, she joins the adventure on the moon that will help her appreciate what she thinks she misses on Earth

« Over the Moon » is not a Disney image, but it does look thanks to the Keane twist. Familiar tropes, deceased relative and adventure, get new life with colorful and fun animation and beautiful sequences like the cross-cut between CGI and the more traditional hand-drawn animation in the legend’s tale

There are flashier, more fluorescent sequences later, especially in the vivid, abstract scenes of Lunaria, but the use of an organic animation style to illustrate a centuries-old story is the first of the film’s many good decisions. / p>

Voice work is also strong As Fei Fei, Ang is fiery and intelligent as a young self-sufficient on a journey of self-discovery She is not a damsel in distress, just a child looking to get things done. in his world Supporting actors, like Margaret Cho in a dual role and Ken Jeong as Fei Fei’s sidekick Gobi bring the goods, as does Soo, who won a Tony nomination for his work at Broadway in « Hamilton », but his work leads to one of the films disadvantages

Soo is a great singer, and owns one of the movie stoppers, a Broadway track by Beyonce called « Ultraluminary, » but each of the songs feels nailed down in an effort to sell soundtrack downloads A mix of show pieces , K-Pop and pop music, with the exception of « Rocket to the Moon », none of the songs seem necessary

« Over the Moon » is a beautiful movie that celebrates Chinese culture, tells a story of overcoming grief and has good animation and although the beats of the main story look familiar, the brilliant visuals are unpredictable and always interesting. p>

Jonathan Demme’s Stop Making Sense, his 1983 film of an iconic Talking Heads show is considered one of the greatest concert films of all time, if not the greatest. Sleek and exciting, it made everything look before it looked old fashioned and everything that came after looks like a knockoff

What « Stop Making Sense » was in the 1980s, a new concert film, also starring Talking Heads frontman David Byrne, is at this time uncertain « American Utopia », directed by Spike Lee and now playing on HBO Max, is a joyful film about everything from protesting injustice and police brutality to optimism and celebration of life

Shot on Broadway’s 2019 broadcast at New York’s Hudson Theater, the film captures the cerebral but exuberant concert that stars Byrne, alongside eleven musicians, all dressed alike in skinny gray suits, and all free. amplifiers and others

With wireless guitars, keyboards and all manner of other instruments on an empty stage with no other gear or lift, Byrne and Company fills the space with intricate choreography, eclectic songs, new and old, and a social message. exhilarating camaraderie and faith in humanity Byrne’s enthusiasm is contagious and Spike Lee, using a combination of you-are-there camera angles including a beautiful aerial shot, captures the jubilant postmodern performance in a glorious way

It’s much more than a package of Talking Heads greatest hits. There are familiar songs like « Burning Down the House », « This Must Be the Place » and « Once in a Lifetime », but they blend in perfectly with Byrne’s originals, written for his 2018 solo album of the same name

Highlights, and there are many, include « Everybody’s Coming to My House », Byrne’s ode to inclusivity and a powerful cover of « Hell You Talmbout », Janelle Monae’s protest song about brutality. Policewoman This latest song, a call and response featuring the names of the names of African Americans killed by the police, gets extra weight with the addition of Spike Lee’s graphics that update the names mentioned in the song. to include dozens more It is a strong moment and an urgent call for change

« American Utopia » is a gem A concert film which, like « Stop Making Sense », redefines what performing arts can be

What the new remake of « Rebecca » by Daphné du Maurier, starring Lily James, Armie Hammer and Kristin Scott Thomas and now airing on Netflix, lacks gothic sensations that it makes up for in beauty for the eyes

As the handsome widower Maxim de Winter, the role made famous by Laurence Olivier in Alfred Hitchcock’s film, Oscar winner in 1940, is Armie Hammer Max is a charmer, a trust aristocrat with a handsome estate, called Manderley, and a deceased woman named Rebecca

While on vacation in Monte Carlo, a young woman (Lily James) catches her eye when she is refused service on the balcony of a chic hotel-restaurant.She is not a guest, she says, but an employee of ‘a guest and therefore must eat elsewhere, anywhere except among the wealthy tourists who enjoy their canapes and champagne He invites her to join him and a whirlwind romance ensues When his boss decides it’s time to going to New York for the first season, Max asks her to stay with a marriage proposal

They move to Manderley, his family home on the windswept English coast The sprawling house has been in his family for generations and is so beautifully appointed that it makes Downton Abbey look like an outhouse In Manderlay, the romance, which s’ blossoms quickly, fades as the specter of Rebecca, the late lady of the estate, weighs heavily on the house and in Max’s mind

Keeping Rebecca alive in her heart and mind is Mrs. Danvers (Kristin Scott Thomas), Manderley’s doomed housekeeper.She is unimpressed by Max’s naive new wife who she says is trying to take the place by Rebecca

‘Rebecca’, directed by Ben Wheatley, is unmistakably beautiful From its beautiful stars to the lavish production design of Sarah Greenwood, it will make your eyeballs dance. Manderley’s decor decoration alone is worthy of « Architectural Digest: Baroque Edition » , but this is a movie that wants to catch more than your eyes and this is where it disappoints

The bones of history seem perfect for a 2020 revisit du Maurier’s exploration of the power imbalance between a rich man and a woman who must fight to find her own sovereignty is timely but undermined by a story that does not prevail never

Hammer’s take on Max lacks the character’s essential coldness He’s hot-tempered, snippy, and blunt, but the icy core needed to freeze the new Mrs. de Winter is missing Without this element of character, her reactions to events don’t bring the friction. necessary to engage the audience On the pivotal stage of the ballroom, where the new bride is (MILD SPOILER ALERT) tricked into making a serious error in judgment, Max appears upset, sulky, but the wound that is unintentionally opened does not appear particularly deep If Max doesn’t care much, why should we?

From that point on, Wheatley drifts through history without any of his patented risk-taking – think of his daring adaptation of Ballard’s Jg “High-Rise” or his “Kill List” on the edge of your seat – s ‘tapping into Clint Mansell’s score to provide emotional highs and lows

Like the female protagonist of the story, the new version of « Rebecca » is haunted, this time by the ghosts of previous incarnations in the story

The folk horror of « The Curse of Audrey Earnshaw », now on VOD, is set in 1973 but feels great in the moment

Divided into chapters like I: The Incantation, II: The Descent, “The Curse of Audrey Earnshaw” creates an atmosphere of terror by telling the story of a small American community settled by Irish fundamentalist Christians in 1873 Isolated from the modern world, they live a simple agricultural and spiritual life frozen in time when the settlers arrived

Plague killing children, crops and livestock is cause for concern in this gated community The villagers believe that a 1956 eclipse is the source of their problems They see it as a sign from God and feel powerless to do anything about it

The same year, a baby was secretly born to Agatha Earnshaw (Catherine Walker), an outcast of the local church Now seventeen years later this baby, Audrey (Jessica Reynolds), has come of age Suspicious eyes are cast on Earnshaw’s farm which is unaffected by the plague As villagers starve to death, Agatha’s fields are ripe with healthy crops and livestock, leading frantic locals to accuse mother and daughter of witchcraft

« The Curse of Audrey Earnshaw » breathes the same air as « Midsommar » by Ari Aster, « The Witch » by Robert Eggers and « The Wicker Man » by Robin Hardy (not the Nic Cage version) Like these other filmmakers, the director Thomas Robert Lee uses seclusion as an incubator for hysteria and horror He takes his time with the story, creating a quirky and claustrophobic feel that goes a long way in creating the fear necessary for this story to work

Lee also draws on two central performances.As Agatha, Walker is fiercely motherly, a mother with a secret to protect.She’s a character straight out of HP Lovecraft, one of the other influences in the film Knowing, But Unknowable , Walker wears his character like a shroud

Reynolds brings both innocence and a steely advantage to Audrey As she ages, she discovers her power and wields it like a sword, seeking revenge on the townspeople who treated her mother disrespectfully

« The Curse of Audrey Earnshaw » is ripe with strains and bloody practical special effects that should satisfy the genre lover, but more than that, it undermines the very timely idea of ​​isolation To varying degrees, many ‘between us were locked away during the pandemic, and while this haunting film takes place in a very specific location, it highlights the dangers inherent in being cut off from the world

First of all, the story One of the great nautical mysteries dates back to 1872 when a British brig called Dei Gratia fell on a drifting ship in rough seas They were 400 miles east of the Azores in rough waters when they changed course to offer aid to the Mary Celeste, a ship bound for Genoa, Italy, now in distress

What Dei Gratia’s boarding crew found aboard the ship Mary Celeste baffled them The cargo was intact, as was a six-month supply of food and water What was missing was the crew Ten souls, lost without a trace

The fate of the Celeste crew has confused historians for years A new thriller, « The Haunting of the Mary Celeste, » now on demand and on digital, offers a supernatural solution to the crew’s disappearance

Researcher Rachel (Emily Swallow) has an idea that borders on the scientific and the supernatural.It is her hypothesis that there are places on this planet where there is a crack every now and then as the tectonic plates move. has a physical change during the event and, like the flashback of a pistol that sucks material into the barrel, the Mary Celeste crew members were dragged into the rift, never to be seen again

Rachel has determined the date of the next break-up and is determined to prove her theory With a small crew on a rented vessel owned and operated by Tulls (Richard « Shaft » Roundtree), she leaves, only to see her theory further proven. more frightening and strange

“The Haunting of the Mary Celeste” is the kind of straightforward thriller where people optimistically say things like, “Hey Rachel, something’s gonna happen tonight I can feel it,” before it all falls apart. characters straight out of Central Casting, the gruff old captain, the hot-headed assistant, etc., it offers a soggy sea adventure with very little thrill

This image posted by Amazon Studios shows Sacha Baron Cohen in a scene from ‘Borat Subsequent Moviefilm’ (Amazon Studios via AP)

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World news – CA – Film Reviews: « Borat Subsequent MovieFilm » will make you laugh, but it’s also designed to make you think



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