Starring: Kevin Hart, Bryan Cranston, Nicole Kidman
Directed by: Neil Burger (“Divergent”)
Written by: Joe Hartmere (debut)
American remakes of already wonderful foreign-language films can sometimes be a hard sell, especially when Hollywood’s take doesn’t live up to the original movie. For every Oscar-winning film like “The Departed” (a remake of the 2002 Chinese film “Infernal Affairs”) there is a badly-executed U.S. version of “Oldboy” (a remake of the 2003 South Korean film of the same name). It’s easy for things to get lost in translation when not enough attention is paid to the spirit of the preceding picture.
Such is the case in “The Upside,” a remake of the exceptionally charming 2011 French drama-comedy “The Intouchables,” one of the highest-grossing, non-English language films in cinematic history. The film is so beloved it has already been remade in India and Argentina, with a second remake in India in the works. Although “The Upside” premiered at the Toronto Film Festival in 2017, it became collateral damage when allegations against producer Harvey Weinstein surfaced. The film was shelved, then sold and finally dumped out in January — the month where most studios send movies to die.
“The Upside” isn’t dead on arrival, but it’s nowhere near memorable. Directed by Neil Burger (“Divergent”) and adapted by first-time screenwriter Jon Hartmere, the film follows Dell (Kevin Hart), an unmotivated, jobless ex-convict who inadvertently gets hired as a live-in caretaker for Phillip (Bryan Cranston), a widowed, quadriplegic billionaire.
Through their professional relationship, which is frowned upon by Phillip’s loyal associate Yvonne (Nicole Kidman), the men form a bond where each of them opens one another’s eyes about personal issues that are keeping them both from living fulfilled lives. For Dell, it’s rising above his bad habits as an absent father to care for his estranged teenage son. For Phillip, it’s allowing himself to take chances in finding happiness.
While Hart and Cranston produce a few sincere moments, Hartmere’s script fails to build a strong enough emotional tie between the two to make audiences believe their friendship means much to either of them. When it’s time for them to step up and fully support each other, their good deeds ring false. Even the scenes they share together as employer and employee feel forced and lack real humor. In one scene, Dell reluctantly replaces Phillip’s catheter and refuses to utter the word “penis.” He finally says it after Phillip involuntarily gets an erection.
Despite “The Upside”’s struggles, Cranston is still able to tap into his character’s mindset and pull off a passable performance with what little the screenplay gives him. It is also noteworthy to see Hart dial down his usually brash personality, although this specific dramedy obviously wasn’t the right project for him.