princemilo

A true story is not necessarily an interesting one, a fact proved by this mess of a movie. The easy pickings for criticism begin with Jonah Hill – a very talented and enjoyable actor who is out of his depth in this leading role. After turning in excellent (and, to some, surprising) dramatic performances in Oscar-nominated supporting roles in Moneyball and the Wolf of Wall St., Hill, or someone in his camp, decided it was time to take a crack at a dramatic leading man role. I'm not saying he can't or won't someday be successful in that effort, but this wasn't time. Nor was it completely his fault.

The script and the direction lack clarity and vision. And, as the two greatest opponents in any communications endeavor are confusion and boredom, True Story pulls of the cardinal double no-no. First time feature film Director Rupert Goold had a potentially interesting story and some capable talent in his hands but simply didn't execute on it. The montages that fail to advance the story in an interesting manner are just one example maddening displays of wasted opportunity. The staging is often flat. The edits, at times, seem to happen because they can rather than for any good reason. The strange thing to me is, watching this film in a packed free preview audience, there were more than a few people that seemed to think it was at least "okay". I could be snarky and say they got what they paid for it, but I'll take the high road. My opinion, like all, should be taken with a grain of salt.

Hill plays Michael Finkel, a former New York Times reporter who got fired for the way he embellished a story and conflated sources to tell, what he felt, was a greater truth. I never believed Hill as a writer, though he has shown great intelligence in even some of his silliest characters previously. James Franco plays Christian Longo, who ranks among the lower level of scum of the earth for killing his wife and three kids in brutal and remorseless fashion. Felicity Jones is a fine actress whose character, Jill, seems to have some interesting things to say, but rarely gets a chance to show them. Her relationship with Hill is laughably bad. And as much as I wanted to cheer for her in the dramatic take it to Christian moment when she decides to visit him in prison (and she's there because it makes good drama…?), the movie was long since gone. James Franco flashes occasionally as Longo, but I still get the feeling he was bored or partially committed too often, unwilling to throw his full weight behind what he's doing. See him in Spring Breakers to get the depth of depravity played well if you want to see this type of thing.

If you're offended by pasty white asses, full frontal male nudity and ridiculous vulgarity, do not bother with Get Hard, the funniest film I've seen in a while. This film declares its intent in the title and its opening frame, right after James King (played to perfection in a vehicle designed for Will Ferrell) cries his eyes out – more about that in a moment. Will Ferrell is a divisive figure. There are people who find him hysterical (I am unabashedly in that camp) and those who just don't see what's so funny. Again, if you're in the latter camp, don't try this film to figure it out. It's unapologetic Will being Will from reel to reel.

Life is perfect for white man James King. He's a one percenter and about to become elite amongst even that slim group with his latest promotion to partner in his soon to be father in law's (Craig T. Nelson) investment firm. His fiancée, Alissa (Alison Brie) declares that he needs to have everything, including her body in every white way possible. He has no idea of the meaning of the silver spoon lodged in his mouth, espousing ridiculous platitudes about the value of hard work in front of all of those "beneath" him.

On the flip side is Darnell (Kevin Hart). He's short, black and broke. He has a lovely wife and an adorable young daughter, who unfortunately goes to a very dangerous elementary school in South Central L.A. because Darnell can't afford the down payment on a house in a better area. It is this heart that makes Darnell immediately likable and grounds James' antics.

Darnell owns a mobile car wash for executives inside of James' building. His need of James' money is obvious – and hilariously rebuffed. When things quickly go south for James and he needs something from Darnell, the backlash is equally hilarious. The odd couple setup is obvious and extremely well played, proving, once again, it's more important to execute than try too hard to be original. And, for the record, I'm also in the camp that everything is derivative (see "everything's a remix" for more), so when it comes to where to place one's effort, it should be in For a moment, I saw shades of an excellent comedy from about thirty years ago, Trading Places. Get Hard goes an entirely different direction and it's not nearly in the same class as Trading Place. But for front line, punch you in the face, over-the-top comedy Get Hard delivers the goods.

There are few taboos the film won't touch – racism, homophobia, class-ism to name a few. Comedy has the ability to skewer, shed light upon and potentially even heal some of these ills. No, I'm not saying this film is on par with Dr. King's "I have a dream" speech, but, for the type of comedy it is, I was impressed by how well it plays the white/black divide angle with more nuance, intrigue and, dare I say it, poignancy than I've seen in a while. Homophobia gets a strong and positive tweaking, too, in Darnell's developing friendship with a gay man after a howlingly funny training scene at a local gay hot spot. For how homosexuality is often viewed in large parts of the popular black culture, it was a big deal to see Darnell having a legitimate, caring friendship on the screen.

But enough attempts at convincing. It's a silly, low-brow, rude comedy by design. To complain about it for being such is like being mad at crocodile for biting. They don't hide their teeth – and neither does Get Hard.

Simply wonderful. I felt emotionally beat up walking out of the theater. The ups and downs without all the cute winks to the crowd (which dramatically lowered the tension and the reality of the danger in episodes I and II. This time, what was at stake was enough to keep me riveted throughout.

If I didn't know Star Wars was part four and how it all played out, I'd be tearing my hair out right now waiting for IV. Thankfully, that's not the case.

Christian Hayden's performance was remarkable. My how that young man has grown up -- suiting his character perfectly. He showed the conflict throughout -- all the way up to the end when the emperor crushed his last bit of goodness. His relationship with Obi Wan was truly heartbreaking. Brothers, confidants -- complete trust, love and respect between them. And then betrayal by lack of understanding and lack of faith.

How utterly human.

The digs at the current U.S. administration were very much appreciated and right on the money: "Only a Sith sees things in absolutes".

Heartbreaking, exhilarating, appropriate. Yes. Very, very well done.