Greetings again from the darkness. It’s interesting that movies and TV sitcoms are fair game when it comes to remakes. We don’t find authors re-writing Hemingway or Fitzgerald. A painter who copies Picasso is labeled a forger. Even when a pianist interprets a Chopin piece, it’s still clearly Chopin. Ahh, but movie remakes are to be accepted as new art – a shiny new creation. Of course, any movie lover worth their salt (is that still an acceptable phrase?) will compare new to old – remake to original. And since first impressions aren’t allowed a do-over, we typically find the remake somewhat lacking.
Director Rob Greenberg and co-writer Bob Fisher simply flip the 1987 original concept from writer Leslie Dixon, where she had Goldie Hawn as the rich heiress and Kurt Russell as the blue collar opportunist. This gender-switch differs from what typically makes headlines these days, and is meant to add a contemporary feel to the story. Anna Faris takes on the role of Kate, a single mom working multiple jobs as she raises 3 daughters while also prepping for the Nursing exam. Mexican movie star Eugenio Derbez (INSTRUCTIONS NOT INCLUDED) may be best known in the U.S. for introducing COCO at this year’s Oscars ceremony, and here he plays Leonardo, a do-nothing playboy heir to a corporate empire. Leo’s typical day is spent on his $60 million birthday yacht enjoying the company of supermodels while mostly ignoring the crew, except when he needs mango or papaya.
Act 1 is the set up where we acknowledge that Leo is a spoiled brat representing the evil one-percenters, and Kate is the good-hearted working class hero we are supposed to root for. Their initial confrontations are poorly handled and soon both have taken the film’s title to heart – she after being pushed by him, and he after conking his head and winding up washed ashore with amnesia. The gist of the story is that Kate conspires to have the concussed Leo act as her husband until he pays her back for her work and she can complete her nursing studies.
The only real interesting things to discuss here are the choices of the filmmakers. Mr. Greenberg is known mostly for TV sitcoms, and it’s quite obvious with how the comedic scenes play out. Admiration and respect go out for allowing much of the film to be bi-lingual (yes, with subtitles), and for taking a risk on the crossover appeal of Mr. Derbez as a leading man. However, what doesn’t work is pretty much everything else. We never buy Faris as a working class mom cold-hearted enough to pull off this scheme. Plus, she is simply not a very good actress and has poor comedic timing throughout the movie. Likeable? Yes. Effective in the role? No. There is also a weak attempt to comment on the working conditions of manual laborers, and it just falls flat.
Thank goodness for the supporting cast. John Hannah as Colin, the chief of the crew, is far too talented for this production, and shines in his too-few scenes. Eva Longoria plays Kate’s friend Theresa, and her relationship with husband Bobby (a terrific Mel Rodriguez) would have made a far superior movie to what is presented here. There is also a brilliant use of Mexican TV soap operas contrasted with the Norwegian yacht crew watching Leo on the closed-circuit system. Despite these sparks of hope, the film mostly lacks the charm of Kurt and Goldie, although judging from the audience response, many will disagree.
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