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watch Dragon Ball Super Broly online In his first dramatic role, a subdued, dead-eyed Hart has nothing approaching Sy’s rascally charisma. But director Neil Burger and screenwriter Jon Hartmere do make Dell the film’s protagonist, edging him away from the stock character of the Magical Negro, the selfless, sexless black character who exists to improve white lives. The recent parolee is endowed with an estranged son (Jahi Di’Allo Winston) and former partner (Aja Naomi King) to win back, and the character’s not afraid to call out the self-pity-prone Phillip on his various privileges. Featureless and familiar as it may be, Dell’s redemptive arc helps the stereotypes in the French film graduate to Hollywood archetypes. Cranston, giving a performance that’s uncharacteristically dialed somewhere below 11, acquits himself better, though he is saddled with vague motivations and an entirely indistinct romance (with Nicole Kidman’s overqualified executive assistant, who’s clearly hanging around because she’s smitten with Phillip but too afraid to make a move). If The Upside improves the depiction of black domestic workers solely relative to the movie on which it’s based, it does a significantly better job of expanding depictions of disability, if only because day-to-day existence with disability is so rarely depicted in cinema. Certainly the gajillionaire leads a charmed life compared with the millions of actual people living with disabilities paycheck to paycheck—not everyone can afford that “jumble of other people’s hands” that he resents his days have become—but we feel it all the same when the guy behind the diner counter asks Dell what Phillip wants, as if the rich man weren’t already terrifyingly capable of realizing the smallest of his impulses. Other than a jarringly headline-recalling line in which Dell says he’d rather “kill” Phillip than change his catheter, their bromance proceeds as steadily as a military march. Opera-loving Phillip learns to appreciate Aretha, while the brusque, self-centered Dell finds his softer side. Compared with the streamlined Intouchables, the remake feels ungainly, inexpertly suturing together the French source material with Hollywood formula. Still, the amalgamation lumbers along. But its fairy tale might have soared more smoothly if it weren’t made of so many recycled parts. The Upside is the kind of movie whose greatest virtue is that it’s not as bad as it could be — and in this case, what sounds like a backhanded compliment is actually quite a feat. It’s the third filmed adaptation of the story of quadriplegic French billionaire Philippe Pozzo di Borgo and his caregiver Abdel Sellou; the first was the 2012 runaway French hit The Intouchables. The story is little more than the latest spin on the Driving Miss Daisy formula: uptight rich person finds new meaning in life via the life-giving powers of a lower-class minority member who is contractually obligated to work for them.