It’s been 30 years since Goldie Hawn’s pampered heiress tormented carpenter Kurt Russell then got amnesia in the Garry Marshall-directed comedy Overboard. Now director Rob Greenberg has flipped the gender roles for a remake starring Eugenio Derbez as a spoiled playboy and Anna Faris as a put-upon single mom hired to clean his yacht.
Here is the first trailer for Overboard, from MGM and Pantelion Films. Derbez plays Leonardo, a selfish gadabout who unjustly fires and refuses to pay Kate (Faris) for cleaning services rendered. When the guy from Mexico’s richest family gets wasted and falls out of his luxury yacht, he comes to on the Oregon coast with no recollection of who he is or how he got there. Kate shows up at the hospital and, eager for payback, convinces Leonardo that he is her husband and puts him to work — for the first time in his life. After a rough start, he eventually earns the respect of his new “family,” but his real kin are hot on their trail.
Eva Longoria and John Hannah also star in Overboard, which was written by Bob Fisher & Greenberg and Leslie Dixon. Derbez, Benjamin Odell and Fisher produced the pic, with Brendan Ferguson serving as executive producer. MGM and Pantelion open the redo from 3Pas Studios on April 20. Check out the trailer above and tell us what you think.
The post ‘Overboard’ Trailer: Anna Faris & Eugenio Derbez In Gender-Switching Remake appeared first on News Wire Now.
‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”