Pakistani Actress Laila Hot Scene In Drama

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Pakistani Actress Laila Hot Scene In Drama by umar-akmal Editor's note: "Whiskey Tango Foxtrot" opens this week from Paramount Pictures, featuring star Tina Fey in the rare role that's much more dramatic than it is comedic. Chief film critic Eric Kohn traded thoughts with managing editor Kate Erbland about Fey's often uneven movie career, how the film handles the horrors of war and how Fey might really break through into the big screen world. ERIC: I'm not quite sure what to make of "Whiskey Tango Foxtrot." Adapted from Kim Barker's memoir "The Taliban Shuffle: Strange Days in Afghanistan and Pakistan," it turns the years-long exploits of a battlefield reporter into a party-filled romp, a screwball comedy and a heartfelt wartime drama, but never quite fulfills any of those expectations. One one level, it’s kind of like "Hurt Locker" meets "Broadcast News," and unquestionably one of the more tonally intriguing looks at modern warfare produced on this scale. But it constantly suffers from erratic shifts — jokes that fall flat and racial stereotypes that fall even flatter. At the center of it all, Tina Fey certainly delivers her most ambitious big screen performance to date, as a morally complex careerist who puts her relationship on hold to chase soldiers around Afghanistan. You can see her struggling to move beyond her usual googly-eyed routine for a more rounded portrayal of a muckraking workaholic — and some of it works quite well. She's complimented by a poker-faced Billy Bob Thornton, whose deadpan delivery is simultaneously creepy and hilarious. In the role of goofy potential suitor Iain MacKelpie, Martin Freeman finds the ideal counterpoint to Fey's gravitas. These are distinct, focused character types, whose varying relationships to their surroundings epitomize the confusing nature of this century's first big war. But there's something awfully backwards about a movie almost exclusively told from the perspective of white people in a foreign land. The only Afghan character with real depth, translator Fahim, is played by a white guy. To his credit, Christopher Abbott follows up his fantastic turn in last year's "James White" with the movie's only measured, low key performance; buried under a beard, he manages to remain courteous toward his employers even as their culture remains inaccessible to him. (The only other prominent Afghan character, a corrupt political strategist, is played by English-American Alfred Molina.)