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Critics Consensus: Overboard makes poor use of the ever-charming Anna Faris -- and chooses questionable source material -- to offer a remake that fails to clear the fairly low bar set by the original.
Critic Consensus: Overboard makes poor use of the ever-charming Anna Faris -- and chooses questionable source material -- to offer a remake that fails to clear the fairly low bar set by the original.
All Critics (85) | Top Critics (25) | Fresh (21) | Rotten (64)
[Faris] could be a big star with the right material, perhaps something with more seriousness and pathos. Overboard isn't it.
Anna Faris and Mexico's biggest star Eugenio Derbez step into Goldie and Kurt's shoes - but they can't keep this gender-reversed reboot from sinking like stone.
Suffice it to say, you'd be safer to leave this one floating without a life jacket and just renting the '87 one again.
Let's be real. That premise is so jacked up it's insane that Hollywood would bank on a remake.
Overboard demonstrates that not every idea deserves an encore. If the gender switch fostered some curiosity, the result is a comedy that -- even without amnesia -- would better be forgotten.
There is nothing worse than to sit through what purports to be a comedy and never have a reason to engage your laugh reflex.
A grey, dull experience, with Faris's talents wasted and restricted to raised eyebrows and chin squeezes.
A perfectly passable example of what I call 'cotton candy' entertainment. It's light, fluffy, and makes you feel good until you get the inevitable too-sweet tummy ache later.
The charisma of our two leads helps elevate this gender-reversal redo of the Goldie Hawn/Kurt Russell "classic." It left a pretty big grin on my face, that's for sure.
Unfortunately, this Faris-Derbez union feels labored and detached while bringing absolutely no intrigue, impishness, insight or naughtiness to the conventional realm of working class warfare between the haves and have-nots.
Please be safe and avoid jumping into these dark and depressing waters.
Comedy is very binary. People are either laughing or their not... If you're in a room where a comedy is playing and nobody is laughing you can hear the lack of space.
As it is probably known, this 2018 rom-com is a remake of a guilty pleasure previously done in the 1980's, only here it's done with a teeny tiny agenda. That agenda, overt inclusion of Latino culture, adds a different flavor to the mix. Everything's carefully handled so as to not put off old fans of the original all the while injecting new blood. "Not bad" is the final result. Cute more than funny.
Super Reviewer
From a parent perspective: I was overcome with emotion the moment the youngest of Anna Faris' daughters gets on her training wheel-less bike and chases down Eugenio Derbez's Leo after his memory returns and he elects to leave them. Needless to say, this was more of a response than I expected to give what seemed like little more than a corporate-mandated re-make of the Goldie Hawn/Kurt Russell gem that I watched countless times during my adolescence. I understand continuing the effort to turn Derbez into as much of an international pull as possible, but why re-make what is among the pinnacle of romantic comedies? Turns out there isn't really a good reason, but that 2018's Overboard is funny and charming where it counts and genuinely affecting when it matters most makes this a perfect candidate for a "movie night" rental. A well balanced meal with sweet and salty flavors that coasts off the conceit and capitalizes on the charisma of its two leads.
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