overboard' remake review
Put together they manage to almost muddle the otherwise progressive messages the filmmakers are trying to get across.
The new version, directed by the sitcom veteran Rob Greenberg, from a script credited to himself, Bob Fisher, and Leslie Dixon (who wrote the original), is made with a slick reality-based gleam, as if this story could actually be happening (even though the movie, at one point, acknowledges that it’s just about as nuts as the telenova serials Kate’s pizza-parlor boss is addicted to). (To be fair, Hawn and Russell had already been a couple for several years by the time they signed on; they had the advantage of going Method on chemistry).
I can’t entirely disagree, conceptually, but before you make your decision, consider the fact that this remake actually makes the innocuous original look edgy by comparison.
30 essential albums from the last 30 years. Whatever the case, 2018 has gifted us a remake (isn’t it better to remake movies we don’t really remember than the beloved ones anyway?). So when he keels tipsily over the side of the ship later that night and turns up in Elks Grove with complete retrograde amnesia, Kate’s best friend (Eva Longoria) sees an opportunity: If Leo can be be convinced he’s a long-lost husband, he could be a breadwinner, a babysitter, a cook, and a housemaid too. Overboard is a sweet-natured but unnecessary reboot of an '80s classic: EW review. Overboard, being a high-concept spin on the romantic comedy, depends on the romantic part of the “rom-com” to succeed. She may be haughty and she may be insufferable, but she’s engaging—you can’t take your eyes off her.
The main takeaway from the remake of the 1987 Goldie Hawn-Kurt Russell rom-com “Overboard” is simple: Why? Reese Witherspoon, Luke Wilson, Selma Blair, Jennifer Coolidge and other “Legally Blonde” stars are reuniting 19 years after the film hit theaters. (See, for example, her work as a weed enthusiast in desperate search of a stash in 2007’s “Smiley Face.”) Eugenio Derbez is a wildly popular Mexican comedic performer making inroads in the U.S.; his 2017 effort in this campaign, “How to Be a Latin Lover” was at its best an amiably amusing trifle in which Mr. Derbez was the main laugh generator.
The most poignant scene is one in which the rich-but-can’t-quite-remember-it Leonardo describes his new life of seemingly endless toil, with an aging face he barely recognizes anymore, a wife he never has sex with, and an almost total lack of anything meaningful in his life. Leonardo (dubbed “Leo” by Kate and her three daughters) soon discovers the man he never was, and never even considered being: a hard-working breadwinner, a loving dad, an ever-improving cook. Brian Grazer and Ron Howard have an app for that.
With Derbez’s Leonardo, the lessons come down to a bit of the same thing, except there’s a fascinating inquiry into masculinity that runs through this gender-reversed Overboard. Entertainment Weekly is a registered trademark of Meredith Corporation All Rights Reserved. It’s striking that a film that’s such a transparently campy melodrama is more honest about what blue collar work actually looks like and who does it than more “grounded” fare.
Anna Faris’s Kate, who’s working two jobs while she studies for her nurse qualification exam, shows up on Leonardo’s yacht to shampoo his carpet, and he treats her like chattel — a tiff that escalates into a sharply funny war of words, until he tosses her overboard along with her carpet cleaner, for which she now has to reimburse the company $3,000. Derbez is charming and he nails the rather ditzy spoiled rich kid routine, but unfortunately he’s too old for the role. The movie, thankfully, understands that it needs to soften Leonardo and teach him about the real meaning of life. Nor the fact that Leonardo is already an outdated comedic trope (did we need another movie where a clueless manchild gets his comeuppance?). Get our revamped Envelope newsletter, sent twice a week, for exclusive awards season coverage, behind-the-scenes insights and columnist Glenn Whipp’s commentary. Eugenio Derbez movie review overboard Pantelion Films. “Mr. California’s November election will feature 12 statewide ballot measures.
A lot of what works best in his Overboard is the easy multiculturalism: A good chunk of the dialogue is in Spanish with subtitles, and the script factors in Hispanic identity and pop culture as an ordinary fact of American life. At this point, guessing which not-quite-forgotten relic will return to the big screen has become a kind of twisted game. Review: Anne Hathaway is a hoot, but this remake of ‘The Witches’ is an awfully thin brew. It would be silly to just say they’re no Kurt and Goldie, but they’re not. This is, after all, a movie about a male pig who gets his comeuppance, chokes on his pride, and does his penance by adjusting to the role of caretaker. Hawn’s vicious princess is now an arrogant zillionaire playboy, played by the Mexican superstar (and terrific actor) Eugenio Derbez.
Impact Creative Systems, an offshoot from Imagine Entertainment, is launching a new app called the Creative Network, a LinkedIn-meets-Slack for screenwriters and studio heads. (The small construction crew with which Kate has arranged a job for him is mostly Latin American; one noteworthy feature of the movie is that about a third of its dialogue is in Spanish.) One that “Overboard’s” writer-producer Bob Fisher and writer-director Rob Greenberg (working form Leslie Dixon’s original screenplay) haven’t executed with much thought or skill.
Entertainment Weekly may receive compensation for some links to products and services on this website. Here’s How the Gender-Swapped ‘Overboard’ Remake Compares to the 1987 Original, Mapuche Rapper MC Millary & Ana Tijoux Look Back on Chile’s Year of Protests, Beyond Virality: Sarah Palafox Is Here To Change the Face of Regional Mexican Music, Kablito's Story Is a Reminder To Take a Bet on Yourself. She wears outrageous bikinis, giant sun hats, and ridiculous sunglasses, all the while refusing to lift one finger to make the life of her (many) servants easier.
In a simplified reading of the film, you’d argue that she learns how to become a “wife and a mother,” reductive roles that spoke to rigid gender norms society places on women. Everything that actually works in the “Overboard” reboot has less to do with gender and more to do with race, as a majority of the characters are Latinos of different classes and backgrounds, and the discussion of their experiences chasing the American dream or not is rich with potential for real cultural commentary. The movie actually forces Leo to choose (an alteration of the original), and Derbez’s acting attains the tender glow that Goldie Hawn’s had. It’s that scene after scene the two comic superstars never quite find a way to make the romance between their characters believable enough to swallow the outrageous plot that brings them together. When Leonardo falls off his yacht and washes to shore without memory, Kate’s boss and gal pal Theresa (Eva Longoria) encourages Kate to claim the amnesiac as her husband and make him work for her. And though he and Faris both look like woodland creatures rendered in animé, with their enormous round eyes and tiny bodies, the love story between them never feels like anything more than a necessary plot construction. None of the proceedings are sidesplittingly funny, but they grow increasingly sweet-natured. this link is to an external site that may or may not meet accessibility guidelines. Quietly because it really shouldn’t be such a surprise to see a household where a guy takes on responsibilities as his partner studies to get her nursing degree. The one thing they do get right in the remake is liken the outlandish amnesia tale to the melodramatic telenovelas that are constantly watched in the kitchen of the pizza shop where Kate (Faris), a single mom of three girls, delivers pizzas.
You wouldn’t think an amnesia narrative would play in 2018, but Fisher and Greenberg wisely establish a telenovela motif, by way of Kate’s co-worker at the pizza place (she works as a delivery girl), who watches telenovelas while he cooks and talks about how great they are. In the original, Hawn played a spoiled heiress who fell off her yacht and got amnesia, whereupon the overworked widower played by Kurt Russell tricked her into thinking she was his wife to get her to take care of his four sons. This time it’s a woman (Anna Faris) who’s the struggling single parent done wrong by a rich brat (Eugenio Derbez) on a boat. The 2018 version, on the other hand, immediately lays bare how much harder it is to make Derbez’s Leonardo just as lovable.
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Essentially the entire movie rests on Leonardo’s journey, from spoiled heir to devoted family man.
Hollywood has a talent pipeline problem. Not really, but it’s something to go with. In this gender-swapped, culture-clash remake, Anna Faris plays Kate, a frazzled widow studying for a nursing exam, and Eugenio Derbez, director and star of the most successful Spanish language film ever in the US (2013’s Instructions Not Included), plays rich party boy heir Leonardo Montenegro, in the feature directing debut of screenwriting vets Rob Greenberg and Bob Fisher. “Overboard,” the Goldie Hawn-Kurt Russell romantic comedy that came out in 1987, was not an especially popular movie at the time (it grossed just $27 million). Variety and the Flying V logos are trademarks of Variety Media, LLC. But she comes to love her new life! Easy enough swap. When we first meet Goldie’s Joanna in the original Overboard, she’s an over-the-top caricature of a wealthy young woman.
Where Joanna’s digs at Russell’s Dean were directed at his seemingly rude manners (she chastises him for not using a fork to eat a sandwich) and his lack of taste (who’d dare make a closet out of oak? Granted, I was never a big fan of the original, which starred real-life couple Kurt Russell and Goldie Hawn. Overboard does a lot of things right, is cleverly conceived, and in most ways is better than it has any right to be.
It’s strange, because he speaks the language fine, in fact he barely has an accent, but for some reason instantly goes from believable everyman in Spanish to sounding like he’s reading the plot to us like a dad performing a children’s book to his five-year-old in English. she wonders, aghast), 2018’s Overboard makes Leonardo a vain, self-involved lothario who spends his time nitpicking the appearance of Farris’s Kate in their first ever interaction. It’s not just the age difference (Derbez is close to fifteen years older than his female co-star), though that doesn’t help. This is no small problem. Because, while it’s not exactly laugh-out-loud funny, it is cute enough to be charming and not quite saccharine enough to be nauseating. So it is that Kate tricks Leonardo into thinking he works construction with Eva Longoria’s husband Bobby (Mel Rodriguez), a jolly contractor with a big panzón who’s always busting balls with his job site soldiers, Burro, Burrito, Don Vito, and Jason.
The complete list of L.A. Times’ endorsements in the November 2020 election. Like the original, the new version is a snarky situational farce that evolves into a cheese-dog fable of home and hearth, and the role reversal allows it to feel halfway fresh.
In Pantelion Film’s updated Overboard, written and directed by Bob Fisher and Rob Greenberg, it is not the rich girl who’s rude to the working class boy but the other way around.
Robert Zemeckis’ new film of the Roald Dahl classic is no match for Nicolas Roeg’s marvelous 1990 adaptation.
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