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Scott Tobias

At first glance, the remake of Overboard sounds like the product of a wayward pitch meeting.

Without getting into the particulars, the title of the lesbian romance Duck Butter refers to an unctuous medley of bodily fluids that might, say, discourage any further sexual engagement. For co-writer/star Alia Shawkat, who scripted the film with director Miguel Arteta (Chuck & Buck, Beatriz at Dinner), it's also a statement of purpose, a commitment to the down-and-dirty realness to come.

There's a sequence in the documentary Grace Jones: Bloodlight and Bami that follows the pop-art icon before, during, and after a pre-recorded TV performance she's giving in front of a studio audience in France. As she makes her way toward the stage in a black corset, high heels, and a lacy purple headdress that masks her eyes — an amusing contrast with the lumpen roadies and stagehands she greets along the way — Jones frets about the possibility of the set being tacky.

Limitations are a horror filmmaker's best friend, whether it's confining characters to a haunted house, constructing a forest menace out of shaky "found footage," waiting until the third act to show the shark, or starving the senses in order to heighten them. A Quiet Place is about a wave of blind, deadly arachnid creatures that are sensitive to sound — imagine if the aliens in the Vin Diesel film Pitch Black were deposited on earth, more or less — but it's really about isolating an effect and custom-fitting a story around it.

Two roads diverged in a yellow wood, and Burt Reynolds took the one more traveled by, peeling through the backwoods South in a black Pontiac Trans Am with Sheriff Buford T. Justice on his tail. For a stretch in the mid-1970s, when Hollywood was overrun by film-school auteurs making high art on the studio dime, Reynolds was cashing checks on unpretentious commercial hits like The Longest Yard, Smokey and the Bandit, Semi-Tough, and Hooper.

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