There's probably still someone somewhere that would fall for one of Sacha Baron Cohen's weird and wooly scenarios but let's face the facts: the days when Ali G. could snag an interview with Pat Buchanan or Gore Vidal are long gone. 2009's Bruno definitely let some steam out of Borat's tires not to mention the ensuing lawsuits. But it's refreshing to see Cohen and his Borat/Bruno cohort director Larry Charles flex their muscles in the fictional universe of The Dictator a vehicle that doesn't skimp on their signature cringe-worthy humor.
The world of The Dictator gives them the leeway to create crazy spectacles — at one point Cohen's General Aladeen rides down Fifth Avenue on a camel surrounded by a giant motorcade. Having a plot helps too; although part of the genius of Sacha Baron Cohen's schtick is how the viewer is made culpable by proxy by our amusement and horror at how he tricks and torments people who aren't in on the joke The Dictator continues the self-reflexive satirical bite. We're certainly not off the hook. Aladeen says and does truly outrageous things but they're also exaggerations of the world we live in. It might be a stretch to call Sacha Baron Cohen the British Lenny Bruce or George Carlin in a face merkin but rest assured that no topic is off limits. If you are offended by jokes about abortion rape feminists body hair race religion politics STDs war crimes ethnic cleansing necrophilia and/or bestiality don't even bother. However if you like the kind of comedy that makes you hide your face in your hands feeling like each laugh is being pried from you against your will you're in business.
Cohen eats up the screen as both General Aladeen and his incredibly dumb body double; the latter prefers the intimate company of one of his goats to a human while the former is a fairly stupid ruthless dictator whose own people are so disloyal to him that they actually ignore his commands to execute people. (He really likes to execute people.) When he arrives in New York City to attend a summit at the UN his uncle Tamir (Ben Kingsley) has the two switched so he can easily manipulate the "General" into signing a treaty to make Wadiya a democracy and reap the financial benefits. Aladeen finds refuge with Zoe a hairy-pitted activist who thinks he's a political dissident and is excited to be able to give him a safe haven in her touchy-feely Brooklyn grocery co-op. Instead of being typecast as another blonde dummy Anna Faris is finally given room to play as the wide-eyed naïf who takes Aladeen's very serious statements as jokes or simple miscommunications. She's a great foil to Baron Cohen who is easily half a foot taller than she is and has a wolfish grin. Their banter is often the most politically incorrect of the bunch but also the funniest.
Alas the plot. It's a bare bones situation to get a very broad character from A to B. Aladeen is obviously an outlandish mishmash of modern dictators; he spouts racist misogynist rhetoric endlessly and after a while...yeah we get it. However like all of Sacha Baron Cohen's humor The Dictator also takes a direct shot at Western countries (specifically the United States) which would be all fine and dandy if he didn't wedge an expository speech in about it as well. The problem with making a traditional narrative movie is that with some exceptions you've got to play within the guidelines. The Dictator isn't trying to do anything fancy; all it needs a few big beats and a neat ending to wrap it all up. It doesn't quite manage to tie it all together in a way that makes The Dictator more than an hour and a half or so of laughing and cringing.
Besides Faris and Kingsley there are a number of cameos by a very wide variety of comics and actors. Megan Fox plays herself Kevin Corrigan appears as a creepy dude who works at the co-op John C. Reilly is a racist security guard and Fred Armisen runs an anti-Aladeen café in New York's Little Wadiya district. The very funny Jason Mantzoukas has a large role as Nadal the former head of rocket science who was supposedly executed for not making Aladeen's nuclear warhead pointy. It's a good ensemble and hopefully Sacha Baron Cohen's next feature-length film will build on The Dictator's weaknesses.
Set during the Spanish Civil War of the 1940s—a favorite area of exploration for writer-director Guillermo del Toro—the story follows dreamy 11-year-old Ofelia (Ivana Baquero) as she’s uprooted and relocated to a remote military outpost when her sickly mother (Ariadna Gil) marries the wantonly cruel camp commander Captain Vidal (Sergei Lopez). With the compassionate but secretive housekeeper Mercedes (Maribel Verdu) as the closest thing to a friend she has in the oppressive environment Ofelia escapes into a richly textured fantasy world. She follows a dragonfly she believes is a fairy into a landscaped but neglected garden maze she recasts as the lair of the goatish godling Pan (Doug Jones). He tells her she’s the last heir to a magical otherworldly kingdom and charges her with several tasks to help her reclaim her birthright. As her personal world grows more and more grim—the impending birth of her half-brother threatens her mother’s health her step-father grows colder and colder in his bid to crush the resistance and Mercedes’ hidden agenda places her in jeopardy as well—Ofelia soon finds herself tangling with hideous monsters both imagined and all too real often having difficulty distinguishing which is the more dangerous. The astonishingly real performance of the amazing young Spanish actress Baquero as Ofelia anchors the film firmly in both its real world and fantasy environments as only the convincing imagination of a child could. Lopez is an equally compelling discovery as the callous Vidal pitiless vicious and malevolent while still remaining believably human throughout. He’s unblinking in his depiction of a thoroughly vile and cruel man but avoids any aspect of cartoonish evil. And Verdu (Y Tu Mama Tambien) as Mercedes is a wonder as well with her remarkably expressive face unlimited by the film’s Spanish language barriers. Kudos too to Doug Jones a whisper-thin actor who specializes in “creature” roles (he’s played Abe Sapien in del Toro’s Hellboy and will be the Silver Surfer in the Fantastic Four sequel) who somehow magically delivers fully-formed performances as both the faun Pan and the freakish Pale Man through layers and layers of latex. Pan's Labyrinth is unquestionably Guillermo del Toro’s finest film work to date as pure an artistic vision as is likely to be committed to celluloid. He wisely worked outside the Hollywood system in his native Spain to bring his dark tale to life. The story exists in that shadowy netherworld between childhood and adulthood innocence and awareness of the world’s more sinister nature and its characters and themes are explored in ways that no mainstream film would ever allow. On the surface the trappings are Tim Burton-esque but the dark corners Pan's Labyrinth peers into are grim and gloomy indeed; del Toro is never afraid to delve into the murkiest of directions that to audiences used to more conventional movies are heart-wrenching even gut-churning but ultimately emotionally honest and in unexpected ways as immensely satisfying as they are haunting. The film is the announcement of the complete arrival of a major filmmaker and we can only hope that the qualities del Toro brings to this work do not get lost in the maze of Hollywood for future films.