Baron Cohen has made a politically ambiguous often-funny and often crude comedy that fabulously explores the dictatorial soul, yet misses the opportunity to include more North Africans in the creative process.
The Dictator is further proof that it's important to laugh at tyrants, not just fear and hate them. The problem is that this doesn't necessarily make for a great movie.
Isn't it possible to be entertaining, humorous and intelligent all at the same time? We appreciate thought-provoking, envelope-pushing entertainment; Muslim and Arab communities are not above that.
Sacha Baron Cohen casts a wide net. He seems to have something wildly nasty to say about everyone -- but he always seems to say it with a charming smile. He's an equal-opportunity offender.
Africans want capital investment, access to global markets, and to be treated as self-sufficient players, not victims in need of continual rescue by their former colonizers. That is the respectful, tough-love attitude that will raise all boats on the African continent.
The comedic gags with spilled ashes and a dancing corpse are one thing. They are meant to be humorous. However, we should remember the ethic of respecting the dead.
At the Oscars, Sacha Baron Cohen buffooned as a fictitious Arab dictator to promote a film. There was plenty of buzz over the fact that he made a mess of Seacrest's Burberry tuxedo, but not about the blatant Arab stereotype.
It was as if Crystal was preserved in time like Austin Powers, thawed out for the 84th Annual Academy Awards, and recycled past bits without trying at all to show off something fresh and new.
Oh, my, what visual splendor. A treat for the Holidays. Hugo is a film about the importance of purpose. This movie is a 3D homage to the early days ...
Sports bring a community together because the people on the sidelines feel that they are part of the team experience. The same should be true for science.
Traditions, language and spiritual beliefs of so many of the American Indian nations are almost completely extinguished. Is it any wonder that the youth find themselves in an identity crisis?
Whatever he's like in person, the baggage associated with Baron Cohen as a performer primarily involves being a repulsive, sociopathic jerk. I never knew Freddie -- but that's simply not Freddie.
James O'Keefe called his deception an "investigation." You might argue that impersonating repairmen was gonzo journalism, a courageous act of civil disobedience, or a new way to dig for the truth.
Joan Rivers: "The networks are still very much an old boys club. They think women at night just want to watch men. I'd love to have my own late-night talk show and I think I could take them all."
The film exposes the depths of homophobia, transcending basic shock humor to capture the face of hatred.
Why the big fade? It's actually not much of a mystery. Once you see the movie, the only mystery is why it wasn't predicted in the first place.