Grimsby (2016)

Grimsby doesn’t ever wound quite as devastatingly as Borat or Brüno, but it’s a vital, lavish, venomously profane two fingers up at Benefits Street pity porn and the social division it fosters. I laughed, winced, gagged, then laughed even more.

The comedy is as broad as it could be, knee-deep in political incorrectness and bad taste. But as ever with Cohen, it's fueled by such imagination and daft abandon that what ought to be offensive becomes hilarious.

Sacha Baron Cohen didn’t become a household name by pulling his punches. While his latest subversion Grimsby is ostensibly a routinely lowbrow British comedy, it’s also a something of stealth device to test the waters as to how far down he can bottom-feed.

Nobby is hardly a character for the ages. He's a basic fool. The movie, too, is chaotic and crude. But its lack of sophistication, like its odd mix of souped-up action and base comedy, ultimately feels like a badge of honour.

Baron Cohen and Strong are both robustly physical performers, and their finest moments are when they’re grappling with each other, producing a great tangle of limbs and teeth. But the script, credited to Baron Cohen, Phil Johnston and Peter Baynham (based on a story by Baron Cohen and Johnston), is not especially generous to the other members of the cast.