To the water (12A)
Verdict: superficial "reinvention"
Thirty years have passed since Goldie Hawn's comedy Overboard / Kurt Russell went down, without a trace, but without leaving too many bubbles either.
This new version resonates kindly, without justifying its presence on the silver screen.
The original, directed by Garry Marshall, had a plot of the Eighties, that was not unreasonable for a film released in 1987.
But it's still an argument from the eighties, which in 2018 is as disorienting as finding Cagney and Lacey on TV or T & # 39; Pau on the charts.
The only concession to modern hashtag sensibilities is that genres have been reversed. In 1987, the only joke in the movie was a woman. Now he is a man
Pleasant but meaningless: Eugenio Derbez and Anna Faris star in a new version of the movie Overboard 1987
The famous Mexican actor Eugenio Derbez plays Leonardo Montenegro, the heir unpleasantly spoiled and without shame of a fortune in the Mexican construction, who spends his life spinning the world on his fabulous yacht, a gift from his father called Happy Birthday, drinking champagne in the jacuzzi with a group of beauties dressed in bikini.
Anna Faris is Kate Sullivan, her demographic opposite, or at least as opposed as this film dares to go. She is a single mother who tries to raise her three daughters in a coastal city in Oregon, while holding two jobs and studying to become a nurse.
The implication even from the beginning is that despite Leonardo's grotesque wealth and Kate's financial difficulties, she is richer in all the things that really matter. She has a loving family, loyal friends and a good heart. He has his $ 60 million yacht and the third richest man in the world as a father, but his life is empty.
They meet when they are hired to wash the carpets from their boat.
Naturally, he treats her terribly. I hate rich people. They get away with everything, "he complains, which is not the movie dialogue fragment you've ever heard, but sums up the situation well.
It really is not a spoiler to reveal, since it is telegraphed from the beginning, that the rest of the film is about him slowly learning the value and virtue of compassion, responsibility, rectitude and hard work.
Thirty years have passed since the comedy Overboard (photo) of Goldie Hawn / Kurt Russell sank, not without a trace, but without leaving too many bubbles either.
The writers are Rob Greenberg, who also directs, and Bob Fisher. They do not recognize their debt to a certain sage of Ancient Greece, but they should. Aesop told the same story much more economically in his fables.
In addition to a moral fable, however, this is also an absurd comedy that in 1987 played very well with Goldie Hawn's strengths. Faris, who made his name in the Scary Movie films, has something of Hawn's odd charm, but in a way that leaves the new version, the filmmakers prefer to "re-imagine," seeming even more unnecessary.
The plot revolves around Leonardo falling overboard and being dragged to the ground where it is discovered that he lost his memory. He has no idea who he is or where he came from, and his amnesia is Kate's signal to claim him as her missing husband and reinvent him as little more than a domestic servant.
The script, but skilfully, skips the subject of the marriage bed when Kate tells him that sex has been banned for a month, until he has dealt with his problem with alcohol.
Meanwhile, Leonardo's family is mourning his death. They suppose it has been eaten by a shark, which, being a movie that feeds hungry for other movies, provides a couple of cheeky references from Jaws, including a police chief named Brody.
One of Leonardo's sisters is, in fact, aware that he is still alive, but he is happy to leave him alone, so that he can seize the company of his seemingly moribund father.
And that's all you need to know, except that John Hannah appears in a minor role as Leonardo's Scottish administrator, looking a little uncomfortable to find himself aboard a container of nonsense.
Whether Leonardo becomes a paragon of a diligent and loving paterfamilias, I should not divulge it. But if you have absolutely nothing better to do, you may like to discover it. Water is not a bad remake, just a little pointless.
Appropriately, for a movie about an amnesiac, you will forget it the moment you leave the cinema.
The German time bomb
In The Fade (18)
Verdict: convincing German drama
Diane Kruger's main performance in this powerful German-language drama earned her the Best Actress award at Cannes last year, and it's easy to see why: she is hypnotizingly good like Katja, a woman whose Turkish immigrant husband, Nuri, and his six-year-old son, they are murdered when his office in Hamburg is bombed.
Fatih Akin's film lingers, somewhat agonizingly, immediately after the explosion. An anguished Katja wants to see her loved ones, but they tell her they are no longer people, only parts of the body & # 39;
Hypnotizing: Diane Kruger plays Katjas in In The Fade, a woman whose immigrant husband and son are killed when their office is bombed
The police assume that Nuri's previous conviction for drug trafficking has something to do with his death. They suspect Turkish or Kurdish gangsters. But Katja is convinced that the white supremacists planted the bomb and, in a surprising scene, discovers at the last moment that she is right.
A husband and wife, known neo-Nazis, are arrested and charged with murder.
In The Fade (a title that I suspect makes more sense in the original in German) is developed in three acts. The first refers to the crime, then an act of the middle focuses on the trial, with the last third more or less following Katja's plans to dispense her own kind of justice.
This final act is the least convincing; There are a series of developments that tighten credibility, although they never reach a critical point.
As a whole, this is a really fantastic movie, and it's also timely, with the violent Extreme Right running through Europe.
Freak Show (12A)
Verdict: defective but observable
The creator of Coronation Street, the late Tony Warren, once told me that as a boy conscious from an early age of his homosexuality, there was not a closet big enough to hide it.
It reminded me of that phrase from Freak Show, which follows the tribulations of Billy Bloom, an American teenager (played by a British actor, Alex Lawther), who is not only homosexual but also flared. Billy does not even try to hide his sexuality; Has no sense.
The film, adapted from a novel for young adults, marks the debut as director of Trudie Styler, who seems to have made good use of the A-list connections she has cultivated as Sting's wife.
Bette Midler plays the outrageous mother that Billy is dedicated to (like Mitford's girls, he refers to her as "Muv"), and there's a curious cameo for John McEnroe, who is surprisingly well pleased as physical education teacher.
The film is undermined by its lack of clear narration. Billy goes to a new high school, where he is terribly intimidated, but he became friends with the soccer hero dishy, too good to be true, Skip (Ian Nelson). At home, he himself is quite horrible with his father (Larry Pine), resists the old man's attempts to bond with him and wishes his absent mother.
All this is fine, but it is never coherent in a true story, at least not until Billy strives to become the queen of the school, running against his nemesis Lynette (Abigail Breslin), whose homophobia and general evil yields this week cinematographic excavation in Donald Trump. "Let's make the United States great again," exclaims Lynnette.
Freak Show promotes its message of tolerance with prudence and a lack of subtlety that even a teenage audience could use, but it has a great asset. Like Billy, Lawther offers a fabulous performance, brave, good, half brave, half mascara.
Coincidentally, he was also very good at another role as a gay schoolboy – he played the young Alan Turing in 2014 The Imitation Game – but it was all about secrecy and shame.
Here, he makes young Boy George, after whom Billy calls himself in one of his many costume changes, look downright repressed.