The Upside review

THE UPSIDE

Director : Neil Burger
Cast : Bryan Cranston, Kevin Hart, Nicole Kidman, Aja Naomi King, Jahi Di’Allo Winston, Genevieve Angelson, Juliana Marguiles, Golshifteh Farahani, Tate Donovan
Genre : Drama/Comedy
Run Time : 2 h 6 mins
Opens : 17 January 2019
Rating : PG13

There’s a specificity to the ‘unlikely buddy comedy-drama’ subgenre: the movies in this category like Good Will Hunting, Finding Forrester or Scent of a Woman aren’t typical buddy movies. They’re often required to have an element of uplift and inspiration, in addition to humour arising from mismatched leads who might not get along at first. At the end of the day, each party learns something unexpected from the other. The 2011 French film The Intouchables is one of the more memorable recent entries in this subgenre, and The Upside is the Hollywood remake of it.

Phillip Lacasse (Bryan Cranston) is a wealthy venture capitalist and investment guru who became a quadriplegic after a paragliding accident. His assistant Yvonne (Nicole Kidman) is helping him vet applicants to be his auxiliary nurse, helping him with everyday tasks. Ex-convict Dell Scott (Kevin Hart) applies for the job not because he wants it, but because he needs to show his parole officer that he has been looking for work. Against Yvonne’s wishes, Phillip takes a liking to Dell.

While Dell is unqualified for the position, he and Phillip gradually warm to each other. Phillip introduces Dell to art and opera, while Dell bounces his ideas for businesses off Phillip. Dell tries to make amends with his ex-wife Latrice (Aja Naomi King) and his young son Anthony (Jahi Di’Allo). However, it’s not all smooth sailing, as Phillip and Dell have their disagreements and must evaluate what each want out of life, finding themselves at a crossroads together despite their very different backgrounds.

The Upside has been getting a lot of flack from fans of The Intouchables, who have readily written it off as a rip-off.  The French film was inspired by the true story of Philippe Pozzo di Borgo, a wealthy hotelier who became friends with his ex-convict carer Abdel Sellou. The film has already been remade: in Spanish as Inseparables and in Telugu and Tamil as Oopiri/ Thozha, with a Hindi remake in development.

Being a remake is not one of The Upside’s biggest problems. The Intouchables has received its share of criticism for its problematic handling of race, and for falling back on stereotypes – even if it was based on a true story. With this remake, there was an opportunity to recontextualise the story and explore the sensitive subjects of race, privilege, social inequality and disability within an American setting. Unfortunately, while the film hints at these themes, it is not astute or deft enough to handle them in an insightful manner. The movie wants to be a feel-good inspirational drama, but in keeping the social issues key to the story at arm’s length, it often feels shallow.

Director Neil Burger, working from a screenplay by Jon Hartmere, appears to have trouble depicting the progression of the friendship between Phillip and Dell in a way that makes sense. They have disagreements, get over them, then have more disagreements, but each seems to react disproportionately to key incidences in the story. Dell starts out confrontational and obnoxious, while Phillip is patient, until he suddenly isn’t. It’s hard to get a handle on the two main characters even though they get a lot of screen time, because there isn’t a lot of flow in the development of their relationship.

Cranston is excellent as expected, finding the quiet sadness and ironic sense of humour in a character who has everything but mobility from the neck down. While there is a debate to be had about able-bodied actors playing disabled characters, Cranston plays the role with enough care that Phillip is sympathetic even though he’s incredibly wealthy, and not just because he is a quadriplegic.

Kevin Hart is staggeringly miscast. There’s no rule that says comedians cannot try their hand at drama, and there are many comedians who have excelled in dramatic roles, but Hart’s smart-mouth persona and shrillness threaten to smother the character, even though he is trying to dial it down here. When Dell is rude and confrontational, it feels like he’s just out to get a rise of others, rather than it coming from a place of real struggle.

While it’s not a focal point of the movie, it’s also hard not to wince at a scene in which Dell baulks at changing Phillip’s catheter, freaks out over Phillip’s accidental erection and can’t even bring himself to say the word “penis”, given former future Oscar host Hart’s history of homophobic remarks.

Nicole Kidman puts in a respectable low-key performance – it’s clear she’s looking for depth in the limited material she has but figured early on that she didn’t have to do too much. The subplot about Dell’s ex-wife and son could’ve done with more development, but the film is right to place the focus on Dell and Phillip’s relationship. Juliana Marguiles shows up for one scene, that is one of the film’s better scenes because Hart isn’t in it.

The filmmakers of The Upside must’ve known they were stepping into a minefield, given that the politics of disability, race and inequality are central to the story. In aiming for a safe, crowd-pleasing feel-good drama, The Upside does not fall into outright shameful sentimentality, but still suffers from a lack of nuance and passes up the opportunity to reframe the original story against the backdrop of urban American society.

RATING: 2.5 out of 5 Stars

Jedd Jong

Point Break (2015)

For F*** Magazine

POINT BREAK

Director : Ericson Core
Cast : Édgar Ramírez, Luke Bracey, Ray Winstone, Teresa Palmer, Delroy Lindo
Genre : Action/Thriller
Run Time : 114 mins
Opens : 3 December 2015
Rating : NC-16 (Sexual Scene and Some Violence)

Strap in, buckle up, insert alternate ways of securing oneself here – because things are about to get XTREME! *Guitar riff*. Johnny Utah (Bracey) is an FBI agent-in-training and a former motocross rider who left the sport after a tragic accident in his youth. When a team of elite thrill-seekers pulls off multiple heists around the world, targeting wealthy corporations, Utah proposes to his FBI instructor (Lindo) that he be allowed to investigate. Utah goes undercover, infiltrating the team and befriending its leader Bodhi (Ramírez), who explains that the daredevil exploits are actually about honouring nature. Utah falls in love with one of the team’s members, Samsara (Palmer), and British agent Angelo Pappas (Winstone) begins to doubt where Utah’s loyalties lie. As Bodhi’s gang pursues the ultimate rush, Utah is seduced back into the extreme sports world, but must put a stop to Bodhi’s criminal activities before he reaches the point of no return.
            Point Break is a remake of the 1991 film of the same name, which some would go so far as to call a classic. The original Point Break is by no means flawless and certainly has its goofy moments, but its iconic status is well-deserved and the characters of Johnny Utah and Bodhi, as portrayed by Keanu Reeves and Patrick Swayze respectively, are certainly memorable. There’s no use beating around the bush: a Point Break remake is unnecessary, and doubly so because we already have The Fast and the Furious, which swapped out surfing for underground street racing. It is a touch ironic that Ericson Core, the cinematographer of the first Fast and Furious movie, is the director and cinematographer of the Point Break remake. It can be argued that if the characters had different names and this movie were called something other than Point Break, there would actually be less furore at it being a rip-off than there is now, given its “official” status.
            The original film revolved around surf culture and the remake ups the ante by throwing everything and the kitchen sink into it, showcasing feats of big-wave surfing, wingsuit flying, free rock climbing, dirt road motorcycling and sheer face snowboarding. The film has roped in top real-life extreme sports athletes to perform the stunts and granted, they do look impressive, but there is something very dated about this approach. It makes the film feel like a relic of the late 90s, when things like the X Games were taking off and everything felt like a Mountain Dew commercial. The daredevil stunts are strung together with a plot device in which Bodhi is looking to complete the “Ozaki 8”, a series of extreme sports trials. The film has a larger scope than the original, with filming taking place in Austria, Italy, Switzerland, France, Mexico, Venezuela, French Polynesia and India, but there are times when it feels more like a ginned up Amazing Race than anything else.
            It is interesting that audiences feel so protective over the characters of Johnny Utah and Bodhi given that they’ve only been in one film, but it seems like it’s sacrilege for any actors other than Reeves and Swayze to take on those roles. Gerard Butler was originally cast as Bodhi but was replaced by Ramírez. While Ramírez brings some mystique to the role and tries his best to pull off the philosopher-warrior attitude embodied by Swayze, his interpretation of the character is far from sufficiently magnetic. Reeves isn’t exactly an untouchable paradigm of acting talent and from some angles, Bracey does sort of resemble Reeves. He does bring a heaping helping of whininess to the part. Similarly, Palmer is considerably more boring than Lori Petty was in the original. Gary Busey brought his trademark unhinged unpredictability to Pappas, while Winstone is the usual gruff English street tough he always is. Lindo is the stock authority figure, also doing very little. As a side note, the film features some of the least convincing tattoos we’ve ever seen in a movie. Guess the stunt budget left the makeup department high and dry.
            It’s pretty obvious that the plot exists to string the stunts together, and it all comes across as very perfunctory and half-hearted. This is a movie that should naturally be flowing with adrenaline, but it often feels like it’s just being shoved along. A Point Break remake was a terrible idea to begin with, and even with all the extreme sports bells and whistles in the world, there’s no way this was going to be anything but a let-down. In the hands of screenwriter Kurt Wimmer, it’s even more laughable than in the original film when Bodhi waxes faux-philosophical. Sure, the original Point Break was cheesy, but that was part of its charm. In place of that, we get a whole lot of going through the motions, the end result mediocre rather than radical.
Summary: This remake boasts superbly executed stunts but is fully incapable of justifying its existence and, for a movie about extreme sports, is sorely lacking in energy. It’s pretty blah, brah.
RATING: 2out of 5 Stars
Jedd Jong