Directed by:
Jason WolinerCinematography:
Luke GeissbühlerComposer:
Erran Baron CohenCast:
Sacha Baron Cohen, Maria Bakalova, Rudy Giuliani, Tom Hanks, Jason Woliner, Rita Wilson, Mike Pence, Stephen Stanton, Anis DorofteiVideos (2)
Reviews (9)
"I found a new book which only tells truth. It's called Facebook." Despite its cult status, the first Borat didn't quite get me as excited as many viewers, but I still saw it as an aptly ironic comedy that didn't mince words on any front. The sequel appealed to me in much the same way, though its atmosphere shifted more into the waters of the drama-family genre, but still with an unmistakable ironic-critical tone. Sacha Baron Cohen as Borat is once again insane, making fun of Trump, the coronavirus, Americans, Jews, women, feminists and many others, which he does brilliantly in places, and a little less so in others. Borat 2 is a textbook example of a film for which I can understand any rating!
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Borat isn't exactly a comedy where you laugh from start to finish, but Sacha Baron Cohen breaks boundaries and does what probably no one else would dare to do, and for that alone I'll give it a generous rating. Towards the end the film ran out of breath, but a couple of scenes were legendary (the toilet scene with the baby, or the current covid-19 issue). I also liked the final twist, which was quite unexpected. Story****, Action>No, Humor****, Violence>No, Entertainment****, Music***, Visual***, Atmosphere**, Suspense*. 7/10.
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The beginning and ending in Kazakhstan are great, but everything in between is rubbish that touches on simmering social issues, but through an unimaginative plot structure and silly, unfunny humor. And it seems that no one even attempted to employ the “hidden camera” effect that made the original Borat great.
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I definitely appreciate about half a dozen of the film’s truly funny and imaginative gags and scenes, but otherwise it's quite weak, especially compared to the excellent, first Borat. Confrontations with "unsuspecting" Americans (who are surprisingly resigned this time around and put up with everything) are unfortunately dull, sometimes giving the impression of artificial staging and especially the desperate need to involve them in a poorly directed, convulsive and unfortunately broken plot about the relationship between a father and his daughter. As long as Cohen is provoking people while wearing bizarre costumes, the film works, but as soon as the scripted actions take place, or if anyone else is on the screen, the film immediately falls off the rails. The film only has sporadic quality satire and is otherwise mostly a relatively standard comedy with borderline humor and plenty of dead spots.
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The first half is great: brisk, funny, politically incorrect enough, and original, but then comes the unusually stagnant filler, with the characters just moving around and boring emancipation bullshit that only someone as bold and original as Cohen could get away with. Things get back on track in the last ten minutes, which prove that this film is at its best when it relies on individual clips and gags, which isn’t that good for a feature film threading political and social insight. 65%
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