View image: Borat in New York, a town locate on the eastern coast of United States and America.
In their reviews of "Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan" Anthony Lane of The New Yorker and Armond White of the New York Press make it clear they are not amused. Mostly because they think the movie is about something I woudn't think was funny, either, if I thought that's what the movie was about.
To Lane, Sacha Baron Cohen is a guy who "adopts fictional personae and then marches briskly into the real world with a mission to embarrass its inhabitants." That may be "Punk'd" (or "Candid Camera") but that's the least of what's going on in "Borat," which presents these improvisations in a fictional narrative context that give them meaning (and, consequently, humor). To White, "Borat" is "anti-American propaganda," that "primarily consists of genital humor, scatological humor and jokes about deformity and mental retardation" -- while any praise of the film is "a bit seditious" and amounts to "evil criticism." OK, that movie doesn't sound funny to me, either. But that movie is nine shots of Armond White with just a splash of Borat Sagdiyev.
Lane is baffled by "Borat." White goes off on a comically crude and incoherent rant against Madonna, Andy Kaufman, Neil LaBute, Madonna (again), 9/11, George W. Bush, Michael Moore, Emir Kusturica, the "angry Left’s vicious temerity" and the "self-loathing" of "Borat’s ass-kissing film critics." Yes, in White's six-paragraph review he spews more bilious imagery -- "pits," "sewer gas," "flatulent," "odious," "evil," "stench," "Ethnic-Cleansing" -- than the feature film he's accusing of low blows. (And for some people, inexplicably, everything will always be about Madonna.)