BORAT Is Back, But The Joke Is Wearing Thin

BORAT SUBSEQUENT MOVIEFILM
(Dir. Jason Woliner, 2020)

Sixteen years ago, Sasha Baron Cohen made quite a splash with his moviefilm BORAT (full title: BORAT: CULTURAL LEARNINGS OF AMERICA FOR MAKE BENEFIT GLORIOUS NATION OF KAZAKHSTAN), and now the offensively oblivious Kazakh journalist returns in the Amazon streaming production (full title) BORAT SUBSEQUENT MOVIEFILM: DELIVERY OF PRODIGIOUS BRIBE TO AMERICAN REGIME FOR MAKE BENEFT ONCE GLORIOUS NATION OF KAZAKHSTAN (whew, that may be the longest sentence I’ve ever written).

This time Borat once again visits American to mock more unaware citizens, and expose the racism, sexism, and homophobia that lies not far below the surface of society. That’s all well and good, but I cringed more at how cheap, and obvious the humor was more than I laughed. However, that may be Cohen’s intent with the material.

The premise largely involves Borat’s 15-year old daughter Tutar (24-year old Maria Bakalova, who is as fiercely into her character as Cohen) who stows away on her father’s trip in a crate with a monkey that was intended to be a gift to Vice President Pence in order for Kazakhstan to regain the respect it lost due to the previous Borat moviefilm.

But low and behold, Tutar ate the monkey on the long journey (see what I mean by the cheap humor?), and a new plan is formed to give Tutar as a gift to Pence. After getting a makeover including a bottle blonde dye job, Tutar and her father attend a debutant ball in Macon, Georgia, where a disgusting dance scene occurs in which Tutar, on her period, flashes the horrified party members with her blood-stained panties. This is undoubtedly the moviefilm’s lowest point.

Much better is a sequence in which Tutar scarfs down a cupcake with a tiny plastic baby the top this is after a visit to a bakery where Borat gets a cake decorated with the phrase “Jews will not replace us,” and a bunch of smiley faces. 

Tutar accidently swallows the plastic baby, and they go to a Women’s Heath Center, a Christian anti-abortion clinic in South Carolina. Of course, they don’t give the stunned counselor, pastor Jonathan Bright, the proper context with such lines as “I have a baby inside of me, and I want to take it out of me,” and Borat’s admission that “I feel bad because I was the one who put the baby in her.” That’s right, this is what I think is one of the moviefilm’s highlights.

Following that, Borat settles on a new mark: Rudy Giuliani. On their way to find the former NYC mayor, and current Trump attorney, Borat dons a Donald Trump fat suit and mask to crash a Pence event, cosmetic surgery for Tutar is considered, Borat gets a job as a barber, Tutar gets some eye-opening life lessons from her babysitter, Jeanise Jones (maybe the most grounded participant here), and Borat befriends a couple of kindly conspiracy theorists, Qanoners Jerry Holleman and Jim Russell, who he lives with under quarantine for a short time.

Yes, Borat brushes with COVID 19, but jokes about the Clintons being responsible for the virus, and calling the situation a “hoax virus shutdown” don’t land, and a bit where Borat, in redneck disguise, sings a crude country song at a far right rally in Washington is a squalidly lazy segment.

Then we come to the scene you’ve surely heard about: Giuliani’s cameo in which he’s caught in a compromising position with Tutar, who by this point has become a TV reporter. However one interprets what they see in this scene, it’s a creepy experience as Giuliani lies back on the hotel bed and puts his hands in his pants (he claims he was tucking in his shirt). What is shown here doesn’t really prove anything, and doesn’t have to real punch needed to bring all these silly strands together.

Luckily there is a real climax which makes for a more satisfying ending. But despite some funny moments and snatches of intermediate cleverness, I mostly found Cohen’s Borat schtick to grow more and more tiresome. He has targets aplenty in the age of Trump, COVID, and Qanon, but he seems to just want to put them on as fools than really skewer them as his subjects.

Again, that’s all well and good, but it’s not really a joke that keeps on giving.

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THE DICTATOR: The Film Babble Blog Review

THE DICTATOR (Dir. Larry Charles, 2012)

In their newest film, Sacha Baron Cohen and director Larry Charles don’t push the envelope; they poop all over it.

Discarding the mockumentary format of their previous films, BORAT and BRÜNO, THE DICTATOR tells the story of Supreme Leader Aladeen, the rude crude ruler of the fictional North African nation of Wadiya.

We’ve seen the likes of this kind of character before - a power-mad tyrant who has anybody who disagrees with him killed - so many of the punch-lines are predictable, but Baron Cohen energetically milks every possible comic possibility available, and succeeds about half the time with getting laughs.

The other half of the time is extremely cringe-worthy. Disgusting bodily humor, gratuitous nudity (do we always have to see Baron Cohen’s junk?), and cheap smarmy dialogue (Baron Cohen calls co-star Anna Faris “Justin Bieber's chubby double” among other monikers), dominate THE DICTATOR, suggesting that its target audience is still in grade school.

After its setup in which Baron Cohen gets kidnapped and shaved (by a hitman played by John C. Reilly of all people) upon arriving in New York City, the movie largely becomes a fish-out-of-water premise. The dictator’s scheming uncle (Ben Kingsley!) replaces him with a dumb double (also Baron Cohen), so he bides his time working in Faris’s vegan food store, waiting for his chance to reclaim his title. So we get a lot of crass gags that the film makers really over sell. Especially when the movie riffs on rape jokes.

As Baron Cohen’s ally, Jason Mantzoukas has one of the most grounded roles, and some of the funniest parts are the bickering exchanges between the 2 characters.

With its mericifully brief 83 minute running time, THE DICTATOR moves fast from laugh to cringe, is cluttered with cameos (look for Megan Fox, Garry Shandling, various Saturday Night Live folks, etc.), and it has the right comedic spirit.

If only those appealing factors weren't overridden by the film's high quotient of gross-out groaners.

Baron Cohen's climatic U.N. speech would've had so much more satirical power had it not been surrounded by such juvenille scatalogical shenanigans. But then, these guys are, of course, more into poop jokes than making a pointed political parody - something THE DICTATOR would never be confused with.

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BRÜNO: The Film Babble Blog Review

BRÜNO (Dir. Larry Charles, 2009)

Approaching the theater (Mission Valley in Raleigh) minutes before midnight, my wife and I heard many complaints coming from the crowds of college aged kids (many younger than that) mulling about in and around the line for BRÜNO. Apparently no beer was to be sold at the concession stand for the showing.

There was a sign in the window of the box office booth confirming this. My wife said "it must be because of nudity" and she was, of course, right - NC Statue 18B-1005.1 forbids the sale of alcohol on premises providing "entertainment by any person whose genitals are exposed". When a particularly jolting close-up of full-frontal (and full screen) male nudity hit the screen (accompanied by pounding rave music of course), she leaned towards me and remarked "that's why we're not able to drink."

BRÜNO is Sacha Baron Cohen's new feature length vehicle for a character from his infamous albeit brief running D Ali G Show (2000) now presented because, as the ads state, "BORAT is so 2006."

The character Brüno (there is even an umlaut over the "U" in the Universal logo at the beginning) is a flaming homosexual Austrian TV fashion reporter whose sole purpose is to get up in the face of uptight straight people and make a scene. A series of these scenes, in mockumentary format, makes up a movie as it did with BORAT. It seems that here, Cohen and director Charles intend to offend everybody that BORAT didn't get to.

While Borat came to America in order to document "cultural learnings"; Brüno comes here to become famous. He goes through every conceivable celebrity trend to achieve this goal including adopting an African baby (actually trading for him with an iPod) deciding upon a charity to lend his name to. Darfur, he accesses is taken, so he wants to know what's going to be "Dar-five."

There are many laughs throughout BRÜNO, even if you can see them coming a mile away. Baron Cohen's intense commitment to the character and quick comic timing make just about every obvious set-up tick, and there's such a strongly silly drive behind it all that's impossible to deny. But if you thought BORAT was a bit much in the crude provocative department, this is likely to be way in the red zone for your sensibilities.

The rest of us may feel guilty about laughing at such base (I may be inclined to say "brilliantly base") material but we'll still laugh. As for the intended audience, the 18-24 year old crowd which mostly made up the packed theater I attended for example, laughed in loud rawdy rapture. Imagine if there had been alcohol involved.


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Full Frame Documentary Film Fest 2009: Day Three

This will be another brief rundown because with all these documentaries coming at me I've had little time for blogging. Like I said before I will write more about select films after the festival is over and the dust settles. This is what I attended on Day Three: (Titles in red don't have IMDb listings yet) BETWEEN DREAMS (Dir. Iris Olsson, 2009) A 10 minute film about passengers' dreams on a 7 day Trans-Siberian train ride. Very affecting although dark and blurry at times. Olsson did a brief Q & A after in which she revealed that every aspect of the film including editing and scoring had been done on the train. It really could've stood to be longer but it's pretty striking as is. CARMEN MEETS BORAT (Dir. Mercedes Stalenhoef, 2008) When Sasha Baron Cohen picked Glod, Romania to stand in for his homeplace of Kazakhstan for his audience pleasing alter ego Borat Sagdiyev, he left behind a lot of resentful residents. For some probably misguidingly romantic reason the film centers on the daughter of a local businessmen (one of the few well-off members of the community) who felt highly offended by Borat's ruse. Ionela Carmen Ciorobea, who at 17 is consdered an old maid by her fellow townsfolk, dreams of leaving the poverty of the village and the clutches of unsuitable suitors. The title is misleading; Carmen never meets Borat (Cohen is only seen in recycled footage from the original movie; the photo above is Carmen hugging her father - see what I mean about being misleading?) which is reflected in the different more accurate title on IMDb: WHEN BORAT CAME TO TOWN. Ciorobea's plight does have its touching moments and the tale of her father and other townsfolks' ill-fated attempt at a lawsuit prompts some mild chuckles but overall the film doesn't feel necessary. THE MEMORIES OF ANGELS (Dir. Luc Bourdon, 2008) I feared this might be a dull travelogue but found it to be a mezmerising extended montage of many different film stocks from 50's and 60's Montreal, Canada. An example of the genre "The City Symphony", which I was unaware of before this weekend, the well timed scene shifting along with the carefully chosen music accompaniment was engrossing from the first to last shot. THE SEPTEMBER ISSUE (Dir. R.J. Cutler, 2008)

As one of the most talked about offerings at the festival, this examination of the pain staking process of finalizing the September Issue of Vogue Magazine more than lived up to the buzz. Editor-in-chief Anna Wintour is the real life Devil who wears Prada and her intimidating demeanor levels staffers left and right but not long-time creative director Grace Coddington. Wintour and Coddington never come to confrontation but a palace of passive aggression is built as the labored over layout comes together. As funny as it is fascinating, even if you know nothing of the world of fashion (like me), THE SEPTEMBER ISSUE surely will make a documentary dent when it gets a full release. An insightful Q & A (mostly about whether Wintour is really that mean) followed with guests director Cutler, editor-at-large, André Leon Talley, and Coddington followed the feature.

MIROIR NOIR (Dir. Vincent Morisset, 2009)

As it was nearing midnight on a Saturday it was a perfect time for the US premiere of a rock doc. Actually less a documentary than a hodgepodge of musical segments, both live and studio, featuring Arcade Fire - the cult Canadian band who are one of Merge Records' (based in Durham) biggest sellers. Despite the lack of context with no venues identified, dates given, or interviews, the film is as artsy, abstract, and absorbing as their music. Most likely a late night favorite in years to come. Whew! I have got to get some rest for the last day of the festival which will include an award BBQ and re-screenings of the winners. I voted on a number of movies so I'm anxious as Hell to see what wins and maybe view a film I missed. I'll let you know how it goes. More later...

Religulous - The Film Babble Blog Review

RELIGULOUS (Dir. Larry Charles, 2008) 

                                        

A while ago I had an extremely non-religious friend who announced one day that they were going to church the next Sunday. I asked “Why? Are you planning on heckling Jesus?” 

That’s what comedian/agitating TV talk show host Bill Maher set out to do as he went out globe-trotting with BORAT director Larry Charles with eyes set on sarcastically deflating followers of all faiths. 

Well, not all faiths but he goes from Jeruselum to a Trucker’s Chapel in Raleigh, N.C. (actually its mis-identified - the chapel is in Charlotte, N.C.) the to the Vatican (he gets thrown out almost immediately) to Salt Lake City to...you get the idea. Maher taunts all of his targets with how the tales of “Adam and Eve, 5,000 years ago with a talking snake” are so mind bogglingly ridiculous (get the title? Might as well be “Religion - Bad!”) that it is destroying us as a society to believe them at all. 

I once wrote that Michael Moore wasn’t really a true documentarian but more “a comedian who hi-jacked the documentary format in order to stage his routines” and that goes double for Maher (but then he is an actual comedian so there's that. 

He gives us his own religious background via old family photos and grainy stand-up clips and spends a lot of the film talking directly to the camera. None of the people he speaks to knew it was him that was going to do the interviews and more than once there are protests to the effect of “I don't know what kind of documentary you’re making but...”

A bit with a man dressed as Jesus at a Florida theme park (pictured above) actually provides some spiritual food for thought as amusingly the guy is never thrown by Maher’s quizing. George Carlin’s “can God make a rock so big even he can't lift it?” constantly came to mind while watching this movie (it may have even been quoted - I can’t remember), and that is undeniably fitting because Maher is a definite disciple of Carlin.

Unfortunately a lot of this falls flat as Maher’s smug nature sabotages some of his strategy. 

An interview with ExChange Ministries director John Westcott, who considers himself an ex-homosexual, seems to exist just so Maher can be all “C'mon! You’re gay!” Cheap shots, contradicting subtitles, and an overusage of footage from cheesy TV shows (not sure what point the excerpt from the 1985 Robert Blake show Hell Town was making) and Biblical themed movies all mar (had to go there) the ultimate thesis.

Still, there are a lot of laughs throughout and the most lasting impressions are ones that will inspire much discussion and debate for years to come. In taking on theology Maher had his heart and mind in the right place it’s just too bad his funny bone got in the way.

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Countdown To Converge South 2007 And More...

"You got a VCR in the back of your head? It's like David Cronenberg all up in here!"
- Master Shake (Dana Snyder)

I'm attending my first blogger convention/conference whatever - CONVERGE SOUTH 2007 in Greensboro a week from today. I'm going with my brother Dave who says it is a "small conference devoted to blogging, podcasting and 'new media'". He has been to many of these kinda deals so he'll show me the ropes. I'll blog about it of course so stay tuned.

Just one just seen flick to babble 'bout this time out :

AQUA TEEN HUNGER FORCE COLON MOVIE FILM FOR THEATERS (Dirs. Matt Maiellaro/ David Willis, 2007)

Once I was angered to find that prissy critic/pundit Leonard Maltin in one of his bulky film guides described MONTY PYTHON AND THE HOLY GRAIL as being "for fans only". This was absurd - I've met many people who say that's the only Python they like so it is inaccurate to label it that way. That said this odd flat looking animated full length version of the Cartoon Network's cult fave Aqua Teen Hunger Force is definitely without a shadow of a doubt for fans only. Maybe even just the stoned hardcore fan actually - the only type of people who would truly appreciate a cameo by Space Ghost that is. I've only seen a handful of episodes and found it amusing to a degree but uh, feature film worthy? I think not.

The premise is that a large talking soda cup - Master Shake (Dana Snyder), a goateed talking order of large fries - Frylock (Carey Means) and a baby voiced talking meatball - Meatwad (David Willis) uh, well...they, okay that is the whole premise. I mean they have uh, adventures I guess, but not really. They seem to stand around and say weird twisted things. This "Movie Film" (that part of the title obviously comes from BORAT - with Sacha Baron Cohen constantly referring to his movie in that manner) makes no attempt to be anything but a long episode of the show and involves some kind of evil alien exercise machine that our fast food product pals' crusty wife-beater-wearing neighbor Carl (also voiced by Willis) gets caught in. Sample dialogue from that scene :

Cybernetic Ghost (Matt Maiellaro) - "There's only one way to stop it. You must push the stop button.
Meatwad - "It doesn't have a stop button!"
Cybernetic Ghost - "Well...I...then there's no way to stop it."

Yep, the humour is consistent on that level. There's no point of recounting any other plot points - the characters themselves continually forget there is a plot (Meatwad - "do I remember anything?") If BORAT was rude mean comedy, then this is a model of awkward comedy. Every character has issues and makes inappropriate yet silly comments and the others look uncomfortable and brush it off - "uh, okay!" Which is probably the best response to this movie. Sorry, Movie Film.


Now doing this blog I get a lot of email - content requests, link exchanges, questions, corrections, etc. The moderator at this site - eyje.com wrote me asking for a Review Exchange Request. I review their site - they'll review mine. Okay, so I checked out eyje.com and played around with what they call their "social comment search engine". I put in Bruce Springsteen - "No results for bruce springsteen" I put in Bob Dylan - "No results for bob dylan". Hmmm. I knew Kurt Cobain would get something because his name is on the recently discussed comments homepage - I try Hitler - "No results for hitler". Okay, so it's a new site. These things take time. I'll try back later. Not sure how this is a social network device like it claims to be but again maybe it's too soon to tell. Anyway I'll link to them and stay tuned.

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I Think I Smell A BORAT...

"We support your war of terror!" - BORAT (Sacha Baron Cohen)  


The #1 movie-film in America right now with an approval rating of 96% on the Rotten Tomatoes Tomatometer (you know, the site that tallies up all the major reviews) BORAT: CULTURAL LEARNINGS OF AMERICA FOR MAKE BENEFIT GLORIOUS NATION OF KAZAKHSTAN is really burning it up this season.

It does has a lot of funny moments though I personally feel much of the material would be better seen in individual YouTube clips, because even at just 84 minutes the guys routine wears a bit.

Peering in on the sold out shows at my local hometown theater where I work part-time, a drop-off in riotous laughter is strongly evident in the last third of the movie. One sequence in particular I could have done without, a nude wrestling match between BORAT (Sacha Baron Cohen) and his morbidly obese manager (Ken Davitian) that starts over a squabble in a fancy-pants hotel room and spills out into the lobby, so that the shocked public can witness of course. 

Thankfully black bars were inserted to cover the naughty bits. That's definitely he scene where my laughter dropped off. 

Being the second most hyped movie of the year (the first being SNAKES ON A PLANE) I was surprised at the critical reaction.

It's getting a lot of incredibly favorable notices remarking on the supposed sharpness of the satire and the telling socio-political statements it makes. Some examples:

"The brilliance of BORAT is that its comedy is as pitiless as its social satire and just as brainy" - Manohla Dargis (New York Times) 

"He makes us squirm until we laugh and laugh until we squirm, holding a mirror to our darkest fears and prejudices." - Bob Townsend (Alanta Journal-Constitution) 

"Evil comedy, a new genre, has arrived. The bar has been raised and is flying over everyone's head." - Victoria Alexander (FILMSINREVIEW.COM) 

This is a bit much. 

I mean, it does live up to the hype much more than SNAKES and it does have plenty of genuine laughs, but come on! It says more about how lame comedies have become in the last several years if this is being lauded so highly. As for all the variations on the labeling of BORAT as an "equal opportunity offender" that critics have been tirelessly making, I was offended like Jerry Seinfeld would be "as a comedian" at how easy cheap and obvious some of the lines were - for example:

Borat Sagdiyev: This is Natalya. (He Kisses her passionately) She is my sister. She is number-four prostitute in whole of Kazakhstan. (Natalya holds up a trophy and smiles) Niiice!

Yep, now that's top-line-state-of-the-art-grade-A comedy!

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