Three stars. Rated PG-13, and rather harshly, for suggestive content and drug use
By Derrick Bang
Hollywood efforts to remake French films are spotty at best; for every reasonable success — Point of No Return and Three Men and a Baby come to mind — we endure half a dozen wincingly awful bombs such as Dinner for Schmucks, My Father the Hero, Two Much, The Toy, Oscar, The Jackal and … well, you get the idea.
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| Helping Phillip (Bryan Cranston, left) with his daily correspondence is one of many tasks that Dell (Kevin Hart) initially finds bewildering ... particularly when Yvonne (Nicole Kidman) makes a point of removing hand-addressed, light blue envelopes from the stack. |
Too many American filmmakers simply don’t get — or fail to appreciate — the wit, subtlety and gentle humor of European writers and directors, who obviously have more faith in their viewers’ intelligence. American remakes tend toward vulgarity, boorishness and broadly overstated farce. Characters who felt real in a French original, become garish burlesques.
I therefore greeted the announced remake of 2011’s The Intouchables with wariness, particularly when Kevin Hart — an aggressive comedian hardly known for delicacy — was announced as co-star. The original is a quiet masterpiece that’s both funny and deeply touching; directors Olivier Nakache and Éric Toledana did a superb job of turning Philippe Pozzo di Borgo’s 2001 memoir — Le Second Souffle (A Second Wind) — into a heartwarming dramedy about two men from completely different worlds, who nonetheless forge a deep, interconnected friendship.
Well, color me surprised. Director Neil Burger’s The Upside may not have the emotional impact of its predecessor, but it’s a game effort. Credit screenwriter Jon Hartmere for retaining both the original’s crucial plot points, and (for the most part) its thoughtful, often melancholy tone. The modifications required by transplanting these events to New York are integrated smoothly, and Hartmere even made a few wise improvements (such as ditching a snotty daughter character, who was a pointless distraction).
Best of all, Burger successfully guides Hart through a comparatively nuanced performance, mostly bereft of the mugging, wild gesticulations and wide-eyed bluster that have become his signature in moron comedies such as Ride Along, Get Hard and Central Intelligence. His Dell is a fairly real guy here: one to whom we can relate, and with whom we can sympathize.
He’s an embittered ex-con who can’t see beyond a lifetime of bad choices. He’s long separated from a girlfriend (Aja Naomi King, as Latrice) and son (Jahi Di’Allo Winston, as Anthony) who want nothing to do with him; he’s also just this side of being sent back to court by a parole officer whose patience has worn thin. The latter’s final edict is adamant: Get a job. Now. Or tell it to the judge.
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into box-office sensations. De Felitta's film is funny, touching, achingly poignant and perfectly acted by an ensemble company that puts the "dys" in this dysfunctional family.