Mark Mylod
Ali G Indahouse

Ali G: Mavvvvvafff****lova!!

Here is a film so idiotic and foolish that, by comparison, Mel Brooks seems like a refined orator from Ancient Greece, and our Alvaro Vitali seems like a cultured professor in the style of Crepet.

In this “Ali G Indahouse” (2002) by the puppet director Mark Mylod (perhaps he is also co-responsible for the disaster), it basically narrates the colossal mockery of the Los Angeles hip hop ghettos, and perhaps this is the only truly “redeemable” part of the entire operation. The rest is an endless series of absurd shootings, homophobic jokes, and shameful sexophobic nonsense on the millennial equation woman=whore (and the epic Homeric horse, I swear, has nothing to do with it!!)… In short, one could open endless debates and discussions on this debacle: Is Ali G misogynistic? Is Ali G the caricature of the typical unlucky American rapper, similar to our local Er Piotta? What the hell did Sacha Baron Cohen (the insane comedian who portrays Ali G) want to say between the lines by making such a crappy movie? Could I, for example, do something worse?

Everything happens (and everything goes WRONG) in this rush-shot tangle of a film: Ali G is nominated and VOTED by the English, and upon entering Parliament, he promotes campaigns for drug legalization, gets his dick sucked by his dog, defends two women outraged by the treatment of two poor blow-job girls, teaches the worst swear words and the art of drugging to a primary school class, and constantly dreams of having sex with Naomi Campbell (here in a real cameo as a Super Major Wank).
Sex, sex, and more sex, but without fun and intelligence. And as we know, without these two things, even the much-praised sex is reduced to two squirts of sticky stuff and little more.

In short, to make it brief (and in case it wasn't clear) this film is a colossal PIECE OF CRAP. Occasionally it has some slight irreverent insights, but being built on a storyline that's rather sketchy and frankly useless (to say the least banal), the film is a collage of poorly executed sketches, where unfortunately, in the dubbing, the character of Ali G has lost the onomatopoeic influences of the gangsta-rap-hip hop language created by Sacha Cohen himself, which, I assure you, is 50% of the character’s comedy.
Therefore, I invite you to a few lines of silence for yet another OUTRAGE by the Italian dubbers on a film that should have been treated differently:
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Returning to the film (sorry for the grand term), what remains is the visual part, which makes you laugh but very rarely and not even convulsively. Let's say it provokes half chuckles with gritted teeth, and very few times at that.
A ramshackle bullshit, therefore, done in a brutal god manner, which could have been approached more intelligently and instead ends up being a mess of terribly deficient gags (which might still pass) but on their own aren’t enough to salvage something born to ride the success of a character (Ali G, indeed) invented for British television where, however, rhythms are short and pressing, irreverence and gags are done on authentic characters (who involuntarily lend themselves to certain improvisations), and there aren't rusty and unresolved scripts to sustain almost an hour and a half of idiotic and lifeless rubbish.

Television comedy is one thing (see Corrado Guzzanti with the other half-boring crap “Fascists on Mars” which nun se po’ guardà for more than a quarter of an hour) making a film is a whole other thing.