Four Lions

One of those films that took me by complete surprise, `Four Lions' is a pitch perfect `dark comedy' that delivers one laugh after another with an unexpected touch of poignancy that elevates the material to create something special.

`Four Lions' details the haphazard terrorist plot conceived by five dimwitted Jihadi suicide bombers. Mainly focusing on three conflicting personalities (Omar, Waj and Barry), `Four Lions' takes a stab at the root (or roots) of terrorism; exposing the allegiance and trivial stupidity that steeps itself in the act. Omar and Barry butt heads from the start. Both are leaders (self-proclaimed as they may be) and both expect a degree of servitude. Omar is arrogant, considering himself superior in intellect (and most likely he is), while Barry is abrasive and condescending in his own right; using his brutish demeanor to demand a faux respect. Waj is more of a simpleton; completely confused by his own allegiance. He wants to believe in something but he can't commit his heart to their actions. Instead, he becomes a pawn; taken advantage of by the more dominant personalities. By focusing on these three characters, `Four Lions' shows the polar sides of terrorism; the way that influence can overtake both and strong and the weak. As these characters devise their plot against oppression, they struggle to explain themselves and thus struggle to convince themselves that what they are doing is really the right thing to do.

As an intellectual piece, `Four Lions' is far smarter and deeper than one may expect. It is a blatant farce, an unapologetic comedy and yet it is laced with such stark realism. That said, it is the comedic shamelessness that really makes this film so incredible. The script is one of the best I've seen put to use on the big screen in a long while. The sharpness of the dialog is perfectly complimented by the visual antics. The explosions never lack in comedic weight, and the one-liners delivered are side-splittingly hysterical.

"I'm not confused brother! I just took picture of my face, and it's deffo not my confused face."

The repartee between the actors is also borderline genius. Everyone totally gets their respective roles and they go `no holds bar', attacking the characters without hesitation. Best in show props go directly to Nigel Lindsay, who layers Barry's ignorance with such undeniable wit. He's pitch perfect in every scene.

In the end, I can't recommend this movie enough. It is controversial, sure, but it understands how to approach the subject so as not to `cross the line' while simultaneously `crossing it'. Taking jabs at both sides of the `war on terrorism', `Four Lions' feels real and authentic despite the outlandish nature of the whole thing. It's preposterous, but on the other hand it's so crazy it just might be true!

Chris Morris co-wrote and directed a very dark, shockingly wicked, tour de force about four inept British would-be suicide bomber jihadists. This ferocious farce grabbed me immediately. Terrorism can be as much about idiots as ideology. Here's a brilliant film that does not flinch or blink in the face of the horrific reality of our times. Can urgent truth be funny? Yes. Time called it "The blackest, ballsiest political comedy since DR. STRANGELOVE." Can mockery and ridicule dilute hate? Maybe. Maybe not. But laughter sure can. Is Allah laughing?

Note: Paragraph 2 is a synopsis, and only paragraph 5 that contains spoilers.

Four Lions is a daring little comedy with balls of iron. Using terrorism as a source of comedy maybe one of the hardest methods to make people ponder about this important issue. Especially the way that Director Chris Morris pursues the subject, one often fears that the topic may be used as the butt of jokes, and form a debased comedy. I have no clue how Morris does it, but he never crosses the moral/ethical line of GLORIZING the terror or demeaning the victims.

This comedy is based on a group of extremist Muslims who decide to demonstrate in the face of all this consumerism and corruption of the West, the beauty of their religion by commiting horrible deeds-that in their eyes are nothing but noble. Take note that they are from Sheffield, England. Four of the men are identifiably Muslim, but one stands out like a nerd on the football team. He is a white convert to Islam, and the most radical, impatient, and extreme of the pack-trying to convince them to attack a Mosque. Two members, Omar and Waj, get sent to a terrorist training camp with disastrous result-keep watching after the credits to understand the extent of their tragic contribution. After returning, all five, which includes the new recruit Hassan, decide to find a target to express their rage.

These are not organized or trained newbie terrorists. They act independently on their dogma, and hilarity ensues. They are also quite well rounded, unlike the terrorist picture many of us may imagine: isolated people lacking in friends, and lovable family. Omar, for example, has a son, wife, and quite a large group of friends-many which are British. They have no detailed philosophy besides the idea that this consumer Western society is corrupt, and needs to be punished. There is almost no discussion of Bin Laden, Al Qaeda, or any terrorist organization. However, They strive to be Jihadists, and ascend to Heaven. It's that simple in their eyes. No discussion of their victims ever take place, and for good reason. These characters are simplistic in their desires, so even a superficial thought of their victims innocence may thwart their plans.

Chris Morris reportedly has done years of research for this film, predating the 7/7 London Bombings. Unfortunately, we don't see the fruits of his research directly on screen. If his research finds its way in to the final cut of this film, it must be very subliminal because I could not see any evidence that this was deeply researched. Due to his research which included collecting personal account from countless different sources, it seems that Morris at parts is unable to shed light on the emotional aspects. Truths that are self-evident to him are not necessarily evident to us, and certain aspects require more emotional investment.

Many examples of such emotionally ambivalent scenes are spread throughout the film, however they are most evident during the scenes involving Omar's family. Of Course, Omar's son does not know about his father's true intents, but he is teaching his son the moral reason for his task through Disney's Lion King. After their overseas debacle, he explains to him that Simba must lie for now until he can accomplish his true goal. These intimate scenes are done well, as we begin to realize that these men are not hopeless young teens without futures. One of the most out of place scenes occurs after Omar deserts his fellow brothers, disappointed and depressed about their plans. His wife's word about his plans, and eventual demise, are so cold heartedly encouraging that we suddenly recall this is a piece of fiction. She seems to be actually encouraging and advocating his plan, clearly aware that its execution will leave her without a husband, and her son a father. Before this scene we saw these two adults use a water gun to force a friend out of their house. They may share the same ideas about the "depravity" of Western culture, but they are a loving couple. Morris, in this scene, makes the woman out to be absolutely heartless about her husband, and maybe ready to get rid of him by granting his services to the Lord in Heaven. This scene is made all the more preposterous by the inclusion of their son in this conversation. Another complaint maybe that the wife is simply a foil character with nothing worthwhile to express. As said before, Morris has done much research on this topic, and maybe the families of terrorists are as "open-minded" as this, willing to give up their husbands, and parents in the Lord's service. Even if this is the case, Morris needs to stray from his facts, and show more compassion in these scenes, or progress to this line of though gradually, not spontaneously.

Four Lions also suffers from a smug sense of profundity. It often feels that the film believes besides laughs it is giving us an earnest and deeply insightful view about terrorism. Whenever Morris decides to make his work more insightful, the comedy suffers drastically. True, we are talking about people blowing themselves and others up by explosives, yet a truly comedic tone fits this successful premise well. The film's serious moments are so far and in between that they never make the impact that he desires. A prime example is the concluding scene when Omar wants to make Waj, one of the co-conspirators, to give himself up. When this fails, Omar marches in to a pharmacy completing his mission. This serious scene steals from the comedy of the four men running around for twenty minutes in preposterous costumes ranging from Honey Munster to an ostrich. After this, a somber songs begins that is truly not in the spirit of the film. I believe Morris believed he had made a serious statement, like the one at the beginning and conclusion of American Beauty. Four Lions loses it's touch, and becomes somewhat disjointed from its black comedy elements when it choses to take such a drastically different route.

Despite all this criticism, I found Four Lions to more insightful and original than most current comedies distributed in the last few years. Morris of course does not succeed in all his goals, but miraculously saves himself from much criticism that his Brass Eye series received in the last decade. He looks at the issue at a very specific angle which makes the comedy, despite the subject, extremely funny. His characters are somewhat stupid and carless which are necessary elements for a film on such a bleak subject. If only the bomber's of 7/7, and hijackers of 9/11, were as independent and clueless as these men are, the victims of their actions would be miniscule in number.

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