Get Hard, the latest offering from the financial department at Warner Brothers Pictures, pairs fresh-faced comedian and Holiday Weekend newcomer Kevin Hart with Holiday Weekend veteran and comedian Will Ferrell at long last with the gripping story about James King (Will Ferrell), an extremely wealthy and successful hedge-fund whiz who is arrested and charged with embezzlement and fraud.
After being sentenced to 10 years in San Quentin Maximum Security Prison, King enlists the help of Darnell (Kevin Hart), a humble Car Washer, to prepare him mentally and physically during his last 30 days of freedom before he is locked away. Darnell has led King to believe he is ‘a Thug’ and must do all that he can to prove it. The two characters gradually learn that their own cultural assumptions about the other are proven to be unfounded, and the two become great friends who endeavour to clear King’s name.
Although one can sense the glimmers of satire that highlight the issues of financial inequality and stereotypes in America, they are sadly overpowered by the onslaught of asinine rape humour, asinine Gay-fear humour, asinine dick humour and the cringe-worthy kinda-racist reverse racism that director Etan Cohen seems to have accidentally included.
Get Hard’s plot, consisting of King’s hunt for whoever is responsible for framing him is introduced early, concisely and quickly as to not waste valuable chuckle-time and rather becomes the circumstance in which we can once again enjoy the comedy gold that is Will Ferrell’s All-Time Classic ‘Strange Cursing’ routine, as well as the routine that will undoubtable become a pillar within the Comedy Movie Hall of Fame: The ‘Kevin Hart is short’ bit.
The plot is completely discarded for an hour and a half before being tied up in a handful of lines of expositional dialogue – All of which would fit better if the film had a more consistent and air-tight absurdist flavour like Ferrell and writer Adam McKay’s previous efforts like Anchorman and Step Brothers. Get Hard, however, devolves into a blended mess of double-act sketch comedy, Post-Apatow celebrity cameo slideshow, over-saturated Hollywood feel-good cliche and underwhelming social satire.
The end result is a film that proudly asserts itself straight out the gate, but ends up squirming in it’s seat under the harsh light of day.
A film that counts on the loyalty of it's audience, but forgets to offer them anything new.