Shifty, a young crack cocaine dealer in London, sees his life quickly spiral out of control when his best friend returns home. Stalked by a customer desperate to score at all costs, and ... See full summary »
Kazakh TV talking head Borat is dispatched to the United States to report on the greatest country in the world. With a documentary crew in tow, Borat becomes more interested in locating and marrying Pamela Anderson.
When famous DJ Alan Partridge's radio station is taken over by a new media conglomerate, it sets in motion a chain of events which see Alan having to work with the police to defuse a potentially violent siege.
A young Pakistani man is chasing corporate success on Wall Street. He finds himself embroiled in a conflict between his American Dream, a hostage crisis, and the enduring call of his family's homeland.
A man decides to turn his moribund life around by winning back his ex-girlfriend, reconciling his relationship with his mother, and dealing with an entire community that has returned from the dead to eat the living.
Popular Broadway actor Gary Johnston is recruited by the elite counter-terrorism organization Team America: World Police. As the world begins to crumble around him, he must battle with terrorists, celebrities and falling in love.
Exceptional London cop Nicholas Angel is involuntarily transferred to a quaint English village and paired with a witless new partner. While on the beat, Nicholas suspects a sinister conspiracy is afoot with the residents.
Four Lions tells the story of a group of British jihadists who push their abstract dreams of glory to the breaking point. As the wheels fly off, and their competing ideologies clash, what emerges is an emotionally engaging (and entirely plausible) farce. In a storm of razor-sharp verbal jousting and large-scale set pieces, Four Lions is a comic tour de force; it shows that-while terrorism is about ideology-it can also be about idiots. Written by
Sundance Film Festival
According to Christopher Morris, Barry, the Jihadist group leader, was based on a former BNP member who in an attempt to out-knowledge the Asian youths he regularly assaulted, studied the Qur'an and as a result "accidentally converted himself" and became a Muslim. See more »
Omar's water pistol was placed on his laptop but then appears behind the laptop and other objects on the table without anyone touching it. See more »
You can fuck her, but you can't kill her? What's wrong with you?
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One sheep was blown up in the making of this film See more »
Home grown Asian suicide bombers are not an obvious choice for Comedy. But Director Chris Morris makes a surprisingly good job of it in a work which is skilfully written and performed. The best humour has a ring of truth about it. And so it is true here. The plot moves from satire, to slapstick to straight forwards storytelling, and back, at quite a pace leaving the audience to make its own mind up about whether certain bits are intended to be funny, or just turn out that way. That ambiguity is probably the film's strongest suit.
A strong cast of Jihadists struggle to get a team together, struggle to get to a Training Camp in Pakistan from which they are sent home in disgrace, indeed they struggle to complete any task successfully. Yet they are not portrayed as buffoons. Never before has Muslim culture been lampooned like this, yet Morris shows it in such a way that they are Everyman jokes and should not cause offence to anyone.
The fact that this is low budget works to its advantage. The script and acting win and the documentary style filming gives it an authenticity which is vital for the humour to prosper. Riz Ahmed stars as Chief Jihadist Omar, but Nigel Lindsay steals the show as a Caucasian Muslim convert. Preeya Kalidas has a frustrating, underwritten role as Omar's wife. A nurse, and a mother we never really get her insight into the prospect of her husband, and father of her son, embracing martyrdom, even though she pokes fun at an over zealous cleric when he visits their home.
At 100 minutes, the film ends when it needs to, in dramatic and compelling style and does not out stay its welcome. For some this will not be funny enough, for others it will simply be in poor taste. But we should be proud that this sort of comedy simply could not be made in America, and is the first cinematic attempt to deal with a relatively new, and disturbing, social phenomena.
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