(Mohammed Saad) is such a good comedian. Through some minor and co-starring roles in plays, TV shows and movies, he proved his talent in performing slapstick and improvising jokes. After the smash success of his breakthrough movie (Ellemby - 2000), with playing a nearly half-mentally handicapped half-stoned guy, whether the producers forced him to play variations on that character again and again, or - simply - he has nothing to do but that!
In his first decade as a star, hope not to be his last, he's always a character that has problems speaking, moving, and thinking. Whatever the name of the movie, or the name of his character is (always the same by the way) he speaks in absolute nonsense, moves in too exaggerated ways, and acts between dumbness and hysteria. Now in (Karkar), double all of that into 20!
There is nothing in this movie but (Saad). And, most probably, there is nothing he does is written. And, surely, there is nothing of his material that works. (Karkar) is not merely one of the worst movies (Saad) ever did; it's one of the worst movies ever made!
(Saad) plays half of the movie's characters, all bizarre noisy characters, using every possible way he has to make laughs, which turns out to be the ugliest: shrill screams, incomprehensible words, dead gags, nasty curses, slaps to everybody, disgusting dances, with repeating all of that non-stop to the last atom in your patience. The women he played (more of a drag queen) is emetic, the father is boring if not creepy, and the title character isn't anywhere close to be bearable!
Aside from (Saad), all who participated in this movie should be ashamed of themselves. Was there one element, rather one moment, that anybody could call creative or clever?! As for the script, it's pretty obvious that there wasn't a "real" script. Instead, a general agreement about some scenes, and all the blanks would be perfectly filled later by (Saad)'s gobbledygook!
As for the pace, it's something this movie doesn't know, so how about being a comedy? Actually comedy without pace is like beach without sea! The movie makers let (Saad) do anything he wants in front of the camera, for all the time he needs. I felt that he - for a rare time in any cinema - was left to improvise while the camera was shooting, with no editing later. Originally, forget about the editing because I think there wasn't any, maybe some moments were edited out for other actors to make you concentrate on the main star only. Look at the dance of Karkar's father, that father's speech about marriage, the madhouse's scene, or imitating the cats on the bed. OH MY GOD. It's ridiculous to tormenting extent!
As for the cast, (Hassan Hosny) does the same of what he used to do in his last 100 movies, done in the last 10 years, however with being kissed on the mouth by Saad this time! (Alaa Mourse) is here to be slapped on the face endlessly. And (Yassmen Abd El Aziz)?? How could she bear being in this?! Fairly, the sole funny thing in this movie was its leaning to be extremely serious near the end!
With (Saad) playing many awful characters, directors surrendering utterly to fulfill all what he desires, and producers spending money on things like this historical dud--then we're in a case of vanity, artlessness, and foolishness. Hence the result is something not entertaining, just painful.
"Karkar" in Arabic slang stands for guffaw. According to this movie, I don't think so. Because silliness wasn't more hard, heavy and free like that before. And during the past 15 years, the call for an Egyptian Razzie never buzzed this loud. I believe (Mohammed Saad) is a force of nature. Like the lightning's electricity, he needs to be controlled to be used correctly. Otherwise, terrible disasters, like (Karkar), accrue when he's left loose. So eventually this movie can be fit for one thing; being a good warning message for both: The producers, and (Saad). If only they would learn!
