Directed by Bob Fisher and Rob Greenburg
Starring – Anna Faris, Eva Longoria, Eugenio Derbez
The Plot – In a splashy new twist, Overboard focuses on Leonardo (Derbez), a selfish, spoiled, rich playboy from Mexico’s richest family and Kate (Faris), a working class single mom of three hired to clean Leonardo’s luxury yacht. After unjustly firing Kate and refusing to pay her, Leonardo falls overboard when partying too hard and wakes up on the Oregon coast with amnesia. Kate shows up at the hospital and, to get payback, convinces Leonardo he is her husband and puts him to work – for the first time in his life. At first miserable and inept, Leonardo slowly settles in. Eventually he earns the respect of his new “family” and co-workers. But, with Leonardo’s billionaire family hot on their trail and the possibility of his memory returning at any moment, will their new family last or will Leonardo finally put the clues together and leave them for good?
Rated PG-13 for suggestive material, partial nudity, and some adult language
– While the comedy is dragged down by the undertow of witless humor, the film surprisingly has a strong sentimental muscle that sets the stage for a more dramatic instilled second half. The film has a slow-but-steady way of drawing this family together as one cohesive unit, paving the way for some scenes during the final act that will surely tug at your heartstrings.
– The performances are 50/50 at best, but at the heart of the top is Derbez’s mumbling and almost child-like innocence that serves as the perfect vehicle for the direction this remake is headed. As to where his chemistry with Faris is a bit lacking, Eugenio more than makes up for it by taking overwhelming control of the majority of this film, making it easier to ride through the sludge of some long dry periods of script.
– I found it interesting that while this is being billed as a remake, the events of the original film have taken place in this world. There’s a brief but noticeable mention of a similar event taken place thirty years prior, and I commend the film for addressing the elephant in the room that most movies won’t even touch.
– Despite the fact that the final ten minutes are almost exactly the same as the original movie, the rest of the film does in fact pave its own road without reliance on a property that has already proven itself. This incarnation of ‘Overboard’ might not reach the entertaining levels of that original movie, but it also spins a modern quality about it that makes it entirely more believable.
– Reversing the roles in this instance shows a satisfying side of single mom workload that is rarely capitalized on this film. Because of Faris’s age, as well as the iron woman schedule that she burns through daily, it’s much easier to empathize with her character over 87’s Kurt Russell because for the most part she has a tight cap on holding down the responsibilities better. With Mother’s Day coming next weekend, this is surprisingly a recommend for the moviegoers going to the theater for the holiday.
– This musical score from composer Lyle Workman is atrocious. I say that with the most kindness that I can muster because it is every bit as repetitive as it is horrifying on the ear buds the every ten minutes it pops up. I can only compare it to a group of ghost ghouls slowly trying to BOO!! everyone they come in to contact with. It’s completely out of context for this kind of film and served as a form of mental abuse every time a transition sequence was happening.
– As to where the film isn’t as offensive morally as the original movie, including a Mexican character in the scenario doesn’t exactly quiet a new fear. Considering Derbez is being held against his will to do work on a household that he doesn’t own, that blaring voice inside my head couldn’t help but scream at how wrong this looks on a race level as well.
– There is absolutely no reason for this film to be approaching the two hour runtime. Considering there is no shortage of one-off gags and supporting cast characters that add absolutely nothing to this film, it’s easy to see where the fat can be trimmed. One such instance involves Faris’s mother (Played by Swoosie Kurtz) occasionally popping up to tell us about an out-of-state gig in which she is performing on stage. I still don’t understand why this subplot needed including or what it even added to the film. Beyond this, there are four different endings for the film, including a credits scene that drags on for far too long.
– I mentioned earlier that the performances are 50/50 at best, and a lot of the negative circumstance to that statement unfortunately involves the other lead, played by Anna Faris. As a usual scene-stealer, Faris can command the attention with ease, so it leaves me baffled why this film fumbles away the use and talents of one of the very best female comedic talents working today. Her character goes long spans without making an impact on the story, and she constantly feels like she’s working carefully behind Derbez, so not to overshadow him.
– Is it worse to try and fail horribly or to not try at all? ‘Overboard’ answers this question for 110 minutes, underwhelming repeatedly. For the first half of the movie, the comic muscle is so easy to ignore because of the lack of confidence that the two leads have in delivering them. Yet the second half of the film elevates itself to a family drama, ignoring the laughs completely. I don’t have an answer yet, but considering I only laughed once at the entirety of this film, it made for one of the more dry comedy sits that I have had in a long time. A big bruise on a film that is comedy first.