Review: Will Ferrell, Julia Louis-Dreyfus’ ‘Downhill’ heads in the wrong direction from start – USA TODAY

Even in these days of sequels and prequels and reboots, there are still many reasons to greenlight a remake. One is to do a better version of a film that wasn’t very good. Another is to try for a different take of a good film. A better reason, one that’s less likely to fail in the American moviegoing market, is to craft an English-language adaptation of a successful foreign-language film so American audiences can appreciate a movie that they don’t have to read.

Unfortunately, there’s often a caveat to go along with that last category: The film also has to be dumbed down for American audiences. When that happens, more often than not, it’s not worth seeing. Think of “Swept Away” or “The Vanishing.” A good Italian film and a great Dutch film. Not so with their non-subtitled remakes. I could make a long list of others, but why bother when the practice still continues?

The latest in the line is “Downhill,” (Rated R) an Americanized remake of the engrossing, uncomfortable, darkly humorous 2014 Swedish film “Force Majeure.” It wasn’t exactly a hit, but it garnered very positive reviews and a gaggle of international awards, and it made a decent box office showing at American art houses.

The original was about a family – mom, dad, two kids – on a skiing vacation in the Alps. They all seem happy together and are enjoying the away time, until a freak accident drives an emotional wedge between mom and dad. No one is physically hurt when what appears to be a mountainside of snow comes tumbling toward them during an outdoor lunch break. But dad’s reflexive action to grab his cell phone and run, leaving his family behind, causes some doubt about his true character in the minds of mom and the kids. The film examines how this problem is exacerbated by ensuing actions and reactions between all four of them. It also puts viewers into one of those “what if this was me” situations.

So, on to “Downhill,” with a double-edged title referring both to the skiing locale and the state of the relationship between family members. I can’t recall if the original had a minor subplot about the family going on the vacation to relieve pressure from problems at home, but it’s a clear-cut story element in this one, involving the death of one of the adults’ parents. So, there’s some unnecessary negative energy on display here even in the opening moments.

Julia Louis-Dreyfus (one of the film’s producers) is good in the role of Billie, a protective mom whose long-ago free-spirited attitude has been squashed by marriage and motherhood. Will Ferrell fares less well, miscast as Pete, who has probably always been a well-meaning dullard, but allows his inner jerk to surface when he feels threatened.

Review: Not-so-super ‘Sonic the Hedgehog’ gets the best of Jim Carrey

The family skis together, and they are determined to enjoy their escape from reality. Then they have lunch at the outdoor restaurant. Then there’s a controlled avalanche which seems to be going out of control as the snow hurtles toward them and other scattering diners. Then Pete runs, leaving frightened Billie huddling with their two frightened kids. When, a minute later, realizing there’s no disaster, he returns, he acts as if he did nothing wrong … with his wife staring at him in disbelief.

This could have turned into a good character study, but writer-directors Nat Faxon and Jim Rash, perhaps under studio orders, have turned it into what could possibly be considered an uncomfortable comedy. One that’s at best awkward and at worst not very funny. There are serious issues mixed in with attempts at dark humor. Billie is angry at Pete, but Pete claims he’s innocent. Pete is supposed to be confused by his actions, but he’s just weak and pathetic.

There are other characters who get marginally involved with the family, but only add to the discomfort level of watching this. The film mercifully clocks in at only 86 minutes, but exists as only a shadow of the original. It all goes downhill after the avalanche.

Let’s block ads! (Why?)