Nicky (Will Smith), a veteran con artist, takes a novice named Jess (Margot Robbie) under his wing. While Nicky teaches Jess the tricks of the trade, the pair become romantically involved; but, when Jess gets uncomfortably close, Nicky ends their relationship. Three years later, Nicky is in Buenos Aires working a very dangerous scheme when Jess -- now an accomplished femme fatale -- unexpectedly shows up. Her appearance throws Nicky for a loop at a time when he cannot afford to be off his game.
With GET HARD, I was bracing myself for sitting uncomfortably through a movie that was going to be racists and full of gay and dick jokes, constantly bombarding me and to a certain extent, racism is a big chunk or GET HARD's jokes, but it's mostly at the expense of rich people's ignorance toward minority and vice versa. And I never thought I'd ever say this about a Will Ferrell movie, but GET HARD is clever and I'll explain why.
Will Ferrell plays millionaire James King who's nailed for fraud and he request the help of the man who washes his car, Darnell Lewis (Kevin Hart) to prepare him for life behind bars. That's essentially the plot for GET HARD. Quite simple and straightforward. The humor isn't always funny, the racist jokes aren't always spot on. It would've been one thing if they were, after all comedy almost always gets a pass for everything, so I wouldn't have been easily offended either, but what GET HARD lacks in its ability to get you to even chuckle, it makes up for in its clever concept.
To me, GET HARD is a satire on the one percenter, in one of the scenes, Will Ferrell's James King tells Kevin Hart's Darnell Lewis that hardwork, not handouts, pay off. But then there's another scene in which Will Ferrell's James King teaches urban black folks how to play stocks correctly and create wealth for themselves (even though the business they're in is shady) and that to me goes to show the mindset that one percenter has, they quickly dismiss the rest of us as lazy, when in fact sometimes all we need is just an investment to get ourselves started, sometimes all we need is somebody to teach us how to create wealth as well. The skills that these few rich claim to have, can be taught, they can be shared, they can be distributed, there's nothing exclusive about them. I don't remember having seen a comedy that tackles that, so I find myself pleasantly surprised by GET HARD. If that doesn't get you impressed, then what can do the trick is GET HARD's many ways of re-creating prison scenarios. It may not crack you up but it's interesting to see how a Bell-Air mansion gets transformed into a prison cell, prison yard and much more and they utilize the maids, the gardeners, the servants, posing as prison inmates, it's very creative.
Will Ferrell is in his usual self, butt naked, crying loudly and hysterically, I really can't get myself laughing at his being himself anymore, and Kevin Hart, the man who pretty much fills the void that Eddie Murphy left behind, is also in his usual self, banking on his being short, black, and a fast-talker, and so GET HARD pretty much presents all you already know about both Will Ferrell and Kevin Hart, but the concept is a hidden gem.
What starts as a poignant medical documentary about Deborah Logan's descent into Alzheimer's disease and her daughter's struggles as caregiver degenerates into a maddening portrayal of dementia at its most frightening, as hair-raising events begin to plague the family and crew and an unspeakable malevolence threatens to tear the very fabric of sanity from them all.
After her father unexpectedly dies, young Ella (Lily James) finds herself at the mercy of her cruel stepmother (Cate Blanchett) and stepsisters, who reduce her to scullery maid. Despite her circumstances, she refuses to despair. An invitation to a palace ball gives Ella hope that she might reunite with the dashing stranger (Richard Madden) she met in the woods, but her stepmother prevents her from going. Help arrives in the form of a kindly beggar woman who has a magic touch for ordinary things.
When Anastasia Steele, a literature student, goes to interview the wealthy Christian Grey as a favor to her roommate Kate Kavanagh, she encounters a beautiful, brilliant and intimidating man. The innocent and naive Ana starts to realize she wants him. Despite his enigmatic reserve and advice, she finds herself desperate to get close to him. Not able to resist Ana's beauty and independent spirit, Christian Grey admits he wants her too, but on his own terms. Ana hesitates as she discovers the singular tastes of Christian Grey - despite the embellishments of success, his multinational businesses, his vast wealth, and his loving family, Grey is consumed by the need to control everything.
At the Museum of Natural History, there's new exhibit being unveiled. Larry Daley who manages the night exhibit because the exhibits come to life because of the Tablet of Ahkmenrah, is in charge of the presentation. But when the exhibits go wild, Larry finds himself in trouble. He learns that the Tablet is corroding so he does some research and learns that Cecil, the former museum guard was at the site when the Tablet was discovered. He tells Larry that they were warned that if they remove it could mean the end. Larry realizes it means the end of magic. He talks to Ahkmenrah who says that he doesn't know anything. Only his father the Pharoah knows the Tablet's secrets. He learns that the Pharoah was sent to the London museum. So he convinces, Dr. McPhee the museum curator to help send him to London. He goes and takes Ahkmenrah with him but some of the others like Teddy Roosevelt, Attila, Octavius, and Jedediah come with him.
Jim Bennett is a risk taker. Both an English professor and a high-stakes gambler, Bennett bets it all when he borrows from a gangster and offers his own life as collateral. Always one step ahead, Bennett pits his creditor against the operator of a gambling ring and leaves his dysfunctional relationship with his wealthy mother in his wake. He plays both sides, immersing himself in an illicit, underground world while garnering the attention of Frank, a loan shark with a paternal interest in Bennett's future. As his relationship with a student deepens, Bennett must take the ultimate risk for a second chance.