Etan Cohen's disastrous and offensive "Get Hard" is the epitome of a one-joke movie, despite a talented cast. - Written by Scott Gentry

"Get Hard" (15)
Directed by: Etan Cohen.
Starring: Will Ferrell, Kevin Hart, Craig T. Nelson and Alison Brie.
Rated: '15' for containing strong language and sex references.
Running time: 100 minutes.
Released in UK cinemas from the 27th of March, 2015.

Offensive on many levels, Will Ferrell's latest star vehicle plays out exactly the way it was described by one enraged critic at its SXSW premiere, stating that it seemed “racist as f–.” That's understandable. The ingenious pairing of Ferrell and Hart is the film's only redeeming feature, but when working from material written by Jay Martel, Ian Roberts and Etan Cohen (also director here, and writer of "Men in Black 3"), the two leads are forced to confront purely vulgar and completely humourless material, including an arguably homophobic sequence in which Ferrell's character is repulsed, when in preparation for prison life, is required to perform oral sex on a man whom he meets in a local gay bar; eventually not being able to bring himself to complete such an act. Or what about the completely needless introduction to everybody's favourite white supremacist group, the Alliance of Whites? Needless to say, you may be slightly offended.

Ferrell himself stars as James King, a successful stock broker who, upon the eve of his engagement party to the illustrious Alissa Barrow (perhaps the highlight of "Mad Men", Alison Brie), is wrongly arrested and convicted for tax evasion. Despite protesting his innocence, James is ordered to serve a 10 year sentence within the infamous San Quentin prison. With 30 days to get his affairs in order, James desperately seeks the help of a former acquaintance, Darnell (Kevin Hart), in a bid to become accustomed to prison life, as he presumes that Darnell has visited prison, purely based on the colour of his skin... Sigh.

"Get Hard's" often coarse and generally uninspired screenplay riffs upon the clichés of prison life (sexual assault, gang violence) in a manner which can only be described as insulting; not only to the audience's very intelligence, but due to the fact that the film itself is hilariously generic and outrageously offensive, especially since it classes itself as a piece of comedic cinema, for which it is a sorry excuse. Clearly, the filmmakers aren't attempting to offend, but when not handled properly, the content itself spirals out of control into a series of unnecessary sequences which can only pass for a multitude of sketches, poorly attempting to be substituted for a narrative structure. It just doesn't work. Perhaps the film's only redeeming gags appear when Darnell attempts to create a fake prison riot within James's mansion (in which a live monkey is thrown into the proceedings), and a " Boyz N the Hood" reference crops up, providing an enjoyable running joke throughout.


Verdict

"Get Hard" features a capable cast and a premise with potential, yet is spoiled in the creation of repulsive humour and needless stereotypes which aren't challenged, yet endorsed by the subject matter. When crafted well ("Team America: World Police", "Dogma"), offensive comedies can be hilarious, but "Get Hard" focuses on tired material, clearly not able to offer a fresh outlook on prison life.

2 Stars out of 10

Written by Scott Gentry.

 

 

Film/TV Rating Key

1-2 stars out of ten = Awful.

3-4 stars out of ten = Average.

5-6 stars out of ten = Good.

7-8 stars out of ten = Excellent.

9-10 stars out of ten = Amazing.

 

 

 

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Competition: Win some rather snazzy "Insurgent" merchandise with our friends, E-One Entertainment!

The latest instalment of "The Divergent Series", titled "Insurgent", is now playing in UK cinemas nationwide, and we've got two awesome "Insurgent" activity tracker packs up for grabs in our latest competition, just for you, our lucky readers and followers!

"Insurgent" Activity Trackers Spec:

- Water resistant

 - TPU Bluetooth Activity band/watch worn around the wrist with OLED display, allowing users to monitor activity levels and overall lifestyle.

 - Includes time feature, tracking/monitoring goals for steps, activity, speed, sleep patterns.

Want to get your hands on a pack for yourself? Well, all you have to do is answer the following question to be in with a chance:

"Miles Teller stars as Peter Hayes, an ill-tempered Candorian, who was originally Tris Prior's mortal enemy throughout "Divergent". But in which film did Teller portray an equally arrogant character, often found with a pair of drum sticks in one hand, and the other in a bucket of ice?"

A) "The Spectacular Now"

B) "Project X"

C) "Whiplash"

To enter our competition, simply send (via email) your:
- Answer to the question
- Name
- Address
- Phone number
- and E-Mail
all to the email address, scottgentry830@gmail.com, before the 31st of March, 2015.

After being exposed as Divergents—people who don’t fit neatly into one of the five societal classifications or “factions”—Tris (Shailene Woodley) and Four (Theo James) find themselves on the run from Jeanine (Kate Winslet), the power-hungry leader of the Erudite faction.

Terms and Conditions
• Competition will close on the 31st of March , 2015.
• Open to UK residents only. 
• Prize for the two main winners are "Insurgent" Activity Trackers.
• The winners will be drawn at random from all the correct entries, and only they will be contacted personally. Prize must be taken as stated and cannot be deferred. There will be no cash alternatives.


Trailer

Tonally perplexing and sickening in its approach to comical violence, “The Voices” is a mentally disturbed piece of filmmaking, coincidentally featuring Ryan Reynolds’ finest performance since “Buried” - Written by Scott Gentry.

“The Voices” (15)
Directed by: Marjane Satrapi.
Starring: Ryan Reynolds, Gemma Arterton, Anna Kendrick and Jacki Weaver.
Rated: ‘15’ for containing strong language, sex references, bloody violence and gore.
Running time: 103 minutes.
Released in UK cinemas from the 20th of March, 2015.

It’s been over a year since Marjane Satrapi’s (“Persepolis”) fourth directorial feature premiered at the Sundance Film Festival, and based upon the early and overly positive critical buzz that the film received, I waited patiently here in the UK to see Ryan Reynolds redeem himself in a lead role, post “Green Lantern”, “R.I.P.D.” and the intolerable “Turbo”. You may be surprised to hear me say this, but Reynolds is a force to be reckoned with. In roles such as Paul Conroy in the unsettlingly claustrophobic “Buried” and the underappreciated part of Gary in head-spinning drama “The Nines”, he displayed great skill in controlling the screen, delivering subtly nuanced performances which proved he wasn’t just another Hollywood hunk, but perhaps something more. Yet again, it seems that Reynolds is the stand out performer in a film which aims to entertain, yet is far too disturbing to be classed as a “black comedy”. 

Our story begins in the small idyllic town of Milton, in which our hapless protagonist, Jerry (Reynolds), is employed within the local bathtub factory. Always cheerful and determined to wear a smile upon his face, he is eager to pursue positive relationships with his co-workers, particularly the alluring Fiona (Arterton) from the accounting department. Meanwhile, Jerry’s overly positive outlook on life is challenged at home, within the company of his pets, an Irish cat named Mr. Whiskers, and his overly-protective dog, Bosco (both voiced by Reynolds), constantly providing conflictive arguments as to whether Jerry should pursue the path of an average Joe, or follow his sadistic urges to kill… 

If you’re slightly freaked out or just downright confused by the film’s plot, then it’s understandable. “The Voices” is a film which continues to confuse me, and not just due to variously idiotic narrative strands, but simply because of its indecisiveness in regards to the tone in which screenwriter Michael R. Perry (“Paranormal Activity 2”) is attempting to pitch. Almost worried that he might offend, Perry isn’t too sure where to take his story, he either attempts to indulge within the dark and sinister sensibilities we’ve come to enjoy from pieces such as “Shaun of the Dead” and “Evil Dead 2” (flipping the piece tonally), or he displays acts of violence which simply aren’t funny, as they fail to mesh with the other material. It's evident that Perry clearly has a love for the horror genre (a lovely stylistic choice in Jerry's apartment proves that), but the film's problem is Perry’s sense of humour. Occasionally it can be hilarious, or just downright crude. 

The film itself begins with a perfectly whimsical (albeit slightly awkward) first act, before delving into a sub-plot which features around distressing material such as assisted suicide and the preservation of dismembered body parts, all in a manner which fails to be humorous, and instead becomes quite sinister, especially with the inclusion of a gratuitously large quantity of blood, especially within the a particularly violent act which takes place on screen. The film’s overall theme of mental health is arguably ridiculed and played for laughs, which is worrying, but with Reynolds leading the proceedings, he manages to create a sense of humanity when portraying Jerry.  

“The Voices” may not be the star vehicle Reynolds hoped for, but the film is worth the price of admission, purely for his delicate and occasionally off-kilter performance, restoring our faith in his talents, as a perfect companion piece to the upcoming “Deadpool”, especially in relation to its blood-drenched and darkly comic tone. The supporting cast remain perfectly average throughout, especially Arterton and Kendrick, as their talents are wasted in roles which don’t require actors of their calibre, especially for characters as bland as theirs. Yet, the film noticeably seems far more comfortable when focussing upon its romantic-comedy elements, prompting a stronger focus upon the character development between Jerry and Lisa (Kendrick). 

Verdict
Apart from its failure to discover a specific tone, “The Voices” remains a crudely entertaining and occasionally funny film, which honestly lives in a league of its own. If you’re seeing this for anything, make sure it’s for Reynolds. Oh, and the suitably warped end credits sequence; a true original in that respect... 

5.5 Stars out of 10

Written by Scott Gentry.

Film/TV Rating Key

1-2 stars out of ten = Awful.

3-4 stars out of ten = Average.

5-6 stars out of ten = Good.

7-8 stars out of ten = Excellent.

9-10 stars out of ten = Amazing.

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DVD/Blu-Ray Reviews: "Love, Rosie" and "Wolves" - Written by Scott Gentry.

“Love, Rosie” (15)
Directed by: Christian Ditter.
Starring: Sam Claflin, Lily Collins, Tamsin Egerton and Jaime Winstone.
Rated: ‘15’ for containing strong language and sex references.
Running time: 102 minutes.
Out now on DVD/Blu-Ray, in UK stores. 

Romantic comedies. I either love them, or downright hate them, and that’s all there is to it. In the case of “Love, Rosie” however, I seem to be edging further towards the opinion of loving it, due to its engaging approach by defying genre expectations and generally being a painfully honest portrayal of love in our busy lives. It’s smart, sassy and is perhaps one of the best Rom-Com since 2011’s “Crazy Stupid Love”. 

Having been best friends since their younger years, Alex (Claflin) and Rosie (Collins) were destined to be together. But what next? School’s out and it’s time for the two to make some rather difficult decisions. After much discussion, they decide on moving to the US together to study at nearby universities, but as life so often does, problems are thrown into the mix, prompting Rosie to stay behind. But as the years pass, their lives entwine in many ways, prompting the question: is it ever too late for love? 

There were times in which I felt far too connected with “Love, Rosie”, prompting me to shout at the screen during plot twists and the saddest of scenes, but maybe that was a good thing? It shows that Ditter’s glossy adaptation of “Where Rainbows End” (by Cecelia Ahern) has succeeded in being able to make me care about its two central characters. Alex and Rosie are full of delightful British wit and charm, proving to be the most engaging of characters within the piece, especially when Claflin and Collins are on-screen together, carrying a wonderful chemistry seldom seen in many of these clichéd pieces. The film itself is beautifully shot and avoids certain clichés, eventually approaching an ending which (technically not a spoiler!) I would have liked to have remained inevitable. But this is a romance after all…

In spite of its charm, there are problems within. Perhaps the unique plot device becomes tiresome after an hour, which is mainly due to a supporting cast who aren’t all as talented as its confident leads, and yes, there are irrational decisions made by the least likely of characters, but this is an interesting contribution to the tired genre. It features a delightful soundtrack, warm humour and perhaps the makings of a cult (girly) sleepover film. Abandon your cynicism, and you may just enjoy the occasional absurdities of “Love, Rosie”. 

Film - 6.5 stars out of 10
DVD/Blu-Ray extras – 4 stars out of 10

Film/TV Rating Key

1-2 stars out of ten = Awful.

3-4 stars out of ten = Average.

5-6 stars out of ten = Good.

7-8 stars out of ten = Excellent.

9-10 stars out of ten = Amazing.

Trailer

“Wolves” (15)
Directed by: David Hayter.
Starring: Lucas Till, Stephen McHattie, Merritt Patterson and Jason Momoa.
Rated: ‘15’.
Running time: 91 minutes.
Out now on DVD/Blu-Ray, in UK stores. 

Clearly a love letter to the camp and erotic horror films of the 80’s, David Hayter’s (writer of “Watchmen and “X-Men”) directorial debut may be particularly light on action, yet is heavy on the love of the genre, becoming embroiled within an extensive plot revolving around centuries of werewolf tradition which is evidently utter nonsense, yet somewhat entertaining. 

Hayter’s coming-of-age tale begins with Cayden Richards (Till, perfectly cast), a high school jock with an elegant girlfriend and presumably, the perfect life. However, on one strange evening, Cayden awakes to find that his beloved parents have been brutally murdered. Framed for their murder, he flees, discovering in the meantime that he is blessed (or cursed) with the powers of a wolf. Whilst on the run, Cayden encounters a small town in the middle of nowhere, discovering that it is home to two small factions of werewolves. Intending to unearth his past, Cayden comes across Angelina (Patterson), the beautiful owner of the only bar in town and soon begins a friendship.  But Cayden then realises that to truly win her affections, he must face the wrath of Connor, the most feared of all wolves, who intends to marry Angelina and steal her away. 

There are elements of romance and material which is heavily clichéd and quite honestly, downright terrible. But, it’s the likeable lead actors (McHattie and Momoa are clearly enjoying themselves here) which place this piece apart from most straight-to-DVD horror flicks, especially in the scenes filled with poor CGI and monster costumes which aren’t at all convincing. Call it “Teen Wolf” with guts, but “An American Werewolf IL” this isn’t. For the horror fanatics amongst you however, you may be pleasantly surprised. 

Film - 5.5 Stars out of 10
DVD/Blu-Ray extras - N/A 

Film/TV Rating Key

1-2 stars out of ten = Awful.

3-4 stars out of ten = Average.

5-6 stars out of ten = Good.

7-8 stars out of ten = Excellent.

9-10 stars out of ten = Amazing.

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