‘Goodnight, Mom’ – The Boys

There is something that remakes do not always take into account, and that is the relevance of the imprint that its denomination of origin can have on any film. ‘Goodnight, Mom’ is not accepted as a viewer in the same way as its Austrian original; partly because his story doesn’t seem to fit his nationality as well. In part, as a result of the fact that, as is often the case with North American versions, it is a sanitized version of an original with greater ambiguity. Let’s say that that 2014 film conveyed, or at least tried to convey, a certain feeling of uncomfortable bad vibes that is not summoned in its Yankee namesake. It is a more orthodox and less intrepid genre film; much more aware of the effect and “the girillo” than of the path that can give meaning to either of the two. A path that paves the solvent presence of Naomi Watts, support along with the Patriot’s son (and her brother) of a functional and entertaining story but not very brave and exciting. At least, within its lack of general courage, it should be appreciated that it is not a linear remake, daring to distance itself from its model in some other key point and adding, in this way, an extra curiosity that, although it does not lead to nothing special or significant, at least if it encourages you to hold out until the end to give a verdict. Those who have seen the original. Those who don’t, will find a decent movie but with little personality, too literal, scarcely believable and low impact that we will see with more curiosity than expectation, being that in the end almost the most interesting thing is to play to guess which of the two Crovetti brothers is the one that appears in ‘The Boys’. For those who have seen ‘The Boys’, of course.

By Juan Pairet Iglesias