Watch Out, We're Mad

The Boo! ratings are really pointless, just like the constant bitching of how another remake ruined a classic. It didn’t ruin it, and nothing would have happened to the classic, even if this one was really crap. An it’s not even a (full) remake. It's true that if someone had asked me before filming if I needed to see the new Watch Out, We're Mad, I would have facepalmed, but since it's here, why not give it a chance? After all, it must have taken courage to put on the shoes of Bud Spencer and Terence Hill, because even the original film wouldn't have been worth much without them. The good news for those who are interested in how this new film turned out and didn't pre-judge it is that the creators were probably well aware of every stick that could be put in their path and knew what they were doing. Yes, I was confused about whose sons the two heroes actually were (it almost seemed like they just had two fathers – Ben and Kid), but it was a pretty simple way to move the plot into the present day. Fortunately, the update is not forced and there are no "main characters who listen to rap music or even rap themselves", and thankfully no toilet humour. Everything sticks to the mood of the original film, but it takes place in the (perhaps slightly alternative) present. I think Edoardo Pesce and Alessandro Roja are a casting boon. They have the right chemistry between them, especially Pesce enjoys his "Bud", and when it comes to the first slaps, it's pure joy. I had a lot of fun, unpretentious, but fun nevertheless. I didn't feel like I was watching some parasite ripping off Spencer and Hill (for that we have Šimon a Matouš), I saw an endearing, stylish homage to a famous comedy, but one that I probably would have enjoyed less if I didn't know the original film. But who knows. (28/08/2022)

Why did someone find it necessary to produce a remake of Altrimenti ci arrabbiamo, a film that has attained cult status in certain countries and for certain generations? That question can be answered in one word: Netflix. Yes, the co-producer is none other than the modern equivalent of that 1980s trash factory Cannon Films, but unlike its predecessor, it lacks not only verve and trashy authenticity, but also a genuine filmmaking heart. The online streaming company, whose PR veil of progressiveness and boldness has fallen away to reveal self-serving calculation based on algorithms, is scouring the globe for brands that it can quickly and cheaply exploit and, by evoking both nostalgia and anger, motivate people to subscribe. As in the case of Cowboy Bebop, there was no reason to remake anything here. A remake is a slightly more expensive but still very expedient way to get viewers to watch the original, which will also surprisingly be available to stream on the same platform at the same time. Otherwise, it is interesting to see a young videographer trying to come to grips with the legacy of the original, particularly in terms of style. The original Altrimenti ci arrabbiamo combined the slapstick of early farces with the aesthetics of popular comedies of the 1970s. This time, the filmmakers decided to come up with a furious blend of formalistic chaos (including gratuitous animated interpolations, perhaps in an attempt to give the film more of a comic-book edge) and cheerful, circus-like set pieces disguising the ubiquitous cheapness of the production. To be honest, the original is no cinematic gem and its popularity consists in the fact that we didn’t have American animated slapstick comedies when we were kids, so we were grateful for their Italian live-action equivalent. At the same time, within the boundaries of shallow, popular entertainment, Spencer and Hill had undeniable originality and charm in their clearly readable facial expressions and sweeping gestures, which the remake tries in vain to replicate, falling flat on its face in the process. Furthermore, with its brawls, races and other physical attractions, the film economises to the detriment of the banter and mugging. [screening at the Marché du Film in Cannes] (23/05/2022)