Entertainment
Film Review: ‘Get Hard’
By Dwight Brown
NNPA Film Critic
Pairing Kevin Hart and Will Ferrell is like mixing gasoline and fire. You know there’s going to be an uncontrollable explosion. Though Get Hard’s paint-by-numbers script is merely serviceable, and screen writer/turned director Etan Cohen (Tropic Thunder) hasn’t a clue about what he’s doing, the ebony and ivory actors pull this comedy off. They’re so damn funny!
The story commences in two disparate parts of L.A: In upscale Bel Air, James (Ferrell), a millionaire hedge fund manager, is about to marry his super-wealthy boss’s (Craig T. Nelson) shallow daughter (Alison Brie, Mad Men). In the working class neighborhood of Crenshaw, Darnell (Hart) lives with his wife (Edwina Findley Dickerson), a nurse, and young daughter (Ariana Neal). He owns a small carwash/detailing business that operates out of the garage of James’ high-rise office building.
James hardly notices that Darnell is the guy who services his car, until the rich dude is arrested and convicted of fraud. He’s sentenced to 10-years hard time in San Quentin and is scared to death he won’t survive. Assuming the man who washes his car has done time himself, he hires Darnell to teach him how to toughen up for the big house. James is wrong. Darnell is as middle class as the Brady Bunch, but he needs the dough to put a down payment on a new house. It’s on!
Screenwriters Jay Martel and Ian Roberts (both vets of TV’s Key and Peele), with the aid of Etan Cohen, have written a script, in the vein of Trading Places, that is a framework. They probably knocked the whole screenplay out over a game of poker and figured that the two comic actors could fill in the laughs. Cohen, who tries his hand at directing, shows little talent for the job. He sets up the camera, then he falls asleep. Minus some imaginative editing (Michael L. Sale, Tammy) in a staged prison riot scene, the film lacks style. It feels like a half-hour situation comedy that runs on for 100 minutes.
That said, it’s not like Hart or Ferrell care. They work their shtick like champs regardless. Ferrell is arguably one of the best comic actors of his generation, and Hart is the same for his. They improvise this film out of the danger zone and make it an uproarious comedy that will keep you in stitches.
Ferrell’s James is so aloof, naive and caught up in his whiteness that it is a joy to watch him transition from a snob, to a street-smart hoodlum with heart. Darnell tries to butch him up for two-thirds of the movie, but James just doesn’t get it. By the time he catches on, he reels off hostile one-liners like he was a real prison thug. As he pretends to tell off a sexually aggressive con in prison, he warns, “Hope you brought your Costco Card because you are about to get d— in bulk!” Ferrell’s characteristic charm goes a long way.
Hart moves around the set like an impish gazelle. You don’t have time to target him because he is that fast. He uses his self-deprecation, animation, vulgarity and street smarts to play a middle-class man who is pretending to be a hoodlum. Sometimes he is the aggressor in a scene, and sometimes the foil. He punches Ferrell with conviction, and takes a slug from his wife like a wimp. Together Hart and Ferrell are as funny as Laurel and Hardy or Abbott and Costello.
As the story uncovers who stole the money and unravels Darnell’s rouse, it peppers itself with nudity, cursing, violence, racial slurs (derogatory terms for Blacks, Latinos and Jewish people), oral sex, cruising in a gay bar, hoodwinking an Aryan Race gang and gun-toting gang scenes with Darnell’s cousin Russell (T.I.). If offensive humor and situations bother you, stay home.
Check your social consciousness at the door. Forget the formulaic script and lackluster direction. Get Hard features two genius comic actors working their craft like magicians. Hart and Ferrell make this movie raunchy, silly, hysterical and fun.
Visit NNPA Film Critic Dwight Brown at DwightBrownInk.com.
Arts and Culture
In ‘Affrilachia: Testimonies,’ Puts Blacks in Appalacia on the Map
By Terri Schlichenmeyer
The Bookworm Sez
An average oak tree is bigger around than two people together can reach.
That mighty tree starts out with an acorn the size of a nickel, ultimately growing to some 80 feet tall, with a canopy of a hundred feet or more across.
And like the new book, “Affrilachia” by Chris Aluka Berry (with Kelly Elaine Navies and Maia A. Surdam), its roots spread wide and wider.
Affriclachia is a term a Kentucky poet coined in the 1990s referring to the Black communities in Appalachia who are similarly referred to as Affrilachians.
In 2016, “on a foggy Sunday morning in March,” Berry visited Affrilachia for the first time by going the Mount Zion AME Zion Church in Cullowhee, North Carolina. The congregation was tiny; just a handful of people were there that day, but a pair of siblings stood out to him.
According to Berry, Ann Rogers and Mae Louise Allen lived on opposite sides of town, and neither had a driver’s license. He surmised that church was the only time the elderly sisters were together then, but their devotion to one another was clear.
As the service ended, he asked Allen if he could visit her. Was she willing to talk about her life in the Appalachians, her parents, her town?
She was, and arrangements were made, but before Barry could get back to Cullowhee, he learned that Allen had died. Saddened, he wondered how many stories are lost each day in mountain communities where African Americans have lived for more than a century.
“I couldn’t make photographs of the past,” he says, “but I could document the people and places living now.”
In doing so he also offers photographs that he collected from people he met in ‘Affrilachia,’ in North Carolina, Georgia, Kentucky, and Tennessee, at a rustic “camp” that was likely created by enslaved people, at churches, and in modest houses along highways.
The people he interviewed recalled family tales and community stories of support, hardship, and home.
Says coauthor Navies, “These images shout without making a sound.”
If it’s true what they say about a picture being worth 1,000 words, then “Affrilachia,” as packed with photos as it is, is worth a million.
With that in mind, there’s not a lot of narrative inside this book, just a few poems, a small number of very brief interviews, a handful of memories passed down, and some background stories from author Berry and his co-authors. The tales are interesting but scant.
For most readers, though, that lack of narrative isn’t going to matter much. The photographs are the reason why you’d have this book.
Here are pictures of life as it was 50 years or a century ago: group photos, pictures taken of proud moments, worn pews, and happy children. Some of the modern pictures may make you wonder why they’re included, but they set a tone and tell a tale.
This is the kind of book you’ll take off the shelf, and notice something different every time you do. “Affrilachia” doesn’t contain a lot of words, but it’s a good choice when it’s time to branch out in your reading.
“Affrilachia: Testimonies,” by Chris Aluka Berry with Kelly Elaine Navies and Maia A. Surdam
c.2024, University of Kentucky Press, $50.00.
Activism
Oakland Post: Week of December 18 – 24, 2024
The printed Weekly Edition of the Oakland Post: Week of December 18 – 24, 2024
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Arts and Culture
Promise Marks Performs Songs of Etta James in One-Woman Show, “A Sunday Kind of Love” at the Black Repertory Theater in Berkeley
“The (show) is a fictional story about a character named Etta, aka Lady Peaches,” said Marks. “She falls in love with Johnny Rhythm, leader of the Rhythm Players Band and headliners of Madam G’s Glitta Lounge.” Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”
Special to the Post
It was “A Sunday Kind of Love” at the Black Repertory Group Theater in Berkeley on Saturday night, Dec. 7. The one-woman musical based on the music of Etta James featured the multi-talented singer Promise Marks
Marks, who wrote and directed the musical, also owns PM Productions.
“The (show) is a fictional story about a character named Etta, aka Lady Peaches,” said Marks. “She falls in love with Johnny Rhythm, leader of the Rhythm Players Band and headliners of Madam G’s Glitta Lounge.”
Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”
In between her soulful songs, Marks narrated impactful moments of the love story and journey of blues and forgiveness.
Marks sultry voice carried the audience back to an era that echoed with the power of Black music and a time of great change.
Marks said James shared love for the Black community by singing at gatherings during the Civil Rights Movement uplifting the people.
“She spoke to the movement, spoke to the people, and let her music speak for itself,” Marks said.
Backing the musical’s monologues, images and videos of Etta James are projected for the audience to view. While the production is fictional, Marks infused script with the unfairness and heartbreak James experienced while performing.
Marks performed gospel artist Donnie McClurkin’s “We Fall Down” as she narrated acts of reconciliation and forgiveness among the characters at Johnny Rhythm’s deathbed.
Marks, who regularly sings for the Miss America Pageant, was asked to perform as Etta James last year. “(At the event) a lady yelled out to me: ‘You’re Etta James!’ And then the audience went crazy. I said to myself, ‘I may have something here,’” she said.
Within 12 months, Marks created the musical production, which featured a dozen songs honoring “the great legacy of Etta James,” she said.
Marks says she was saddened to see how Etta James was often judged by the struggles in her life and wanted to offer attendees a more layered view.
“Etta’s life was so big. I want people to know that she was more than her drug addiction,” said Marks. “We can’t make that her legacy. Her catalog is too amazing. You can’t just be that and have the catalog that she (created). I don’t want the addiction to be the focus: I want her music, her element, her sassiness, and what she brought to be the focus – her woman-ness, that she was strong, and I wanted to honor that.”
Set Designer Nora Burnette says she created the set segments to mirror James’ life story. A set designer for BRG since 2016, she explained that her process of researching the scenario and the character serve as her inspiration for her design.
“I try to design a set as close to real life as possible so that the actress can deliver the performance sincerely,” said Burnette. “By creating the right setting, it helps the actors release the true essence of a character.”
The set brought the story to life and absolutely floored Marks. “Once Promise (Marks) saw the actual set, she understood my vision: ‘Wow, you get me. You get it,'” Marks told the designer.
Born Jamesetta Hawkins, Etta James, began her career in 1954 and gained fame with hits such “At Last” and “I’d Rather Go Blind.” She faced a number of personal problems, before making a musical comeback in the late 1980s with the album “Seven Year Itch.”
Co-producer and BRG Development Director, Sean Vaughn Scott, works with Overseer Production. According to producer Pamela Spikes, “Marks talent truly does Etta’s life story justice.”
Pam Jacobs of Hercules, a friend of Marks’ mom, Jackie Smith, said, Marks “was fabulous and sang all of those songs flawlessly.”
“I’m so proud of my daughter,” said Smith.
Marks, who has served as an instructor for BRG, will return on Feb. 21- 23 for an encore run of the musical.
“It’s an honor to be a part of the BRG (Black Repertory Group) family and continue our executive director Dr. Mona Vaughn Scott’s vision for the Black Repertory Group theater,” said Marks.
The Black Repertory Group Theatre is located at 3201 Adeline St., Berkeley, CA 94703. For information, visit: BlackRepertoryGroup.com
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