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Film Review: ‘Get Hard’

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Kevin Hart and Will Ferrell in the comedy "Get Hard" (Courtesy Photo)

Kevin Hart and Will Ferrell in the comedy “Get Hard” (Courtesy Photo)

 

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.

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Oakland Post: Week of February 11 = 17, 2026

The printed Weekly Edition of the Oakland Post: Week of – February 11 – 17, 2026

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Arts and Culture

Book Review: Books on Black History and Black Life for Kids

For the youngest reader, “As You Are: A Hope for Black Sons” by Kimberly A. Gordon Biddle, illustrated by David Wilkerson (Magination Press, $18.99) is a book for young Black boys and for their mothers. It’s a hope inside a prayer that the world treats a child gently, and it could make a great baby shower gift.

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Photo of Black History Month book covers by Terri Schlichenmeyer.
Photo of Black History Month book covers by Terri Schlichenmeyer.

By Terri Schlichenmeyer

Authors: Various, Copyright: c. 2025, 2026, Publishers: Various, SRPs: $17.99-$18.99, Page Counts: Various, 

Everybody in your family has stories to share.

Your parents have told you some, no doubt. Your grandparents have offered a few, too, and aunties and uncles have spun some good tales. But there’s so much more to know, so grab one of these great books and learn about Black History and Black life.

For the youngest reader, “As You Are: A Hope for Black Sons” by Kimberly A. Gordon Biddle, illustrated by David Wilkerson (Magination Press, $18.99) is a book for young Black boys and for their mothers. It’s a hope inside a prayer that the world treats a child gently, and it could make a great baby shower gift.

If someone said you couldn’t do something that you were clearly able to do, would you fight to do it anyhow?  In the new book, “Remember Her Name! Debbie Allen’s Rise to Fame” by Tami Charles, illustrated by Meredith Lucius (Charlesbridge, $17.99), a young girl in the Jim Crow South is told that she can’t dance because of the color of her skin.

She didn’t listen, though, and neither did her mother, who took her daughter to Mexico, where the girl soared! This is an inspiration for any 5-to-7-year-old; be sure to check out the back-of-the-book information, if you’re an adult fan.

Do you often hear your elders say things that sound like lessons?  They might be, so “Where There is Love: A Story of African Proverbs” by Shauntay Grant, illustrated by Leticia Moreno (Penguin Workshop, $18.99) is a book you’ll like. It’s a quick-to-read collection of short proverbs that you can say every day. Kids ages 4-to-6 will easily remember what they find in this book; again, look in the back for more information.

Surely, you love your neighborhood, which is why the tale inside “Main Street: A Community Story about Redlining” by Britt Hawthorne and Tiffany Jewell, illustrated by David Wilkerson (Penguin Kokila, $18.99) is a book for you.

Olivia’s neighborhood is having a block party, but she’s sad when no one shows up. That’s when she learns that “the government” is discriminating against the people and businesses near where she lives. So, what can she and her neighbors do? The answer might inspire 6-to-8-year-old kids to stand up to wrongs they see, and to help make their neighborhoods stronger and safer.

And finally, if a kid wants a book, where can they go to find it? In “I’m So Happy You’re Here: A Celebration of Library Joy” by Mychal Threets, illustrated by Lorraine Nam (Random House, $18.99) is a good introduction to the best of what a library has to offer. The freedom to walk into a library and borrow a book is the theme here, as is the sheer happiness of being welcomed, no matter who you are.  This is an easy book for kids as young as two and as old as five to enjoy.

On that note, if you want more, head to that library, or a nearby bookstore. They’ll be glad to see you. They’ve got stories to share.

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Activism

Art of the African Diaspora Celebrates Legacy and Community at Richmond Art Center

Now in its 29th year, Art of the African Diaspora is the Bay Area’s longest-running exhibition of its kind. Its roots stretch back to 1989, when artist and educator Marie Johnson Calloway founded Colors of Black, a salon for African American artists. That gathering inspired artists Jan Hart-Schuyers and Rae Louise Hayward to establish The Art of Living Black at the Richmond Art Center in 1996.

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‘Be Still...’ by Virginia Jourdan is on display at the Richmond Art Center (RAC), in Richmond, CA. Photo by Carla Thomas.
‘Be Still...’ by Virginia Jourdan is on display at the Richmond Art Center (RAC), in Richmond, CA. Photo by Carla Thomas.

By Carla Thomas

The 2026 Art of the African Diaspora exhibition is on display at the Richmond Art Center (RAC) through March 14. The one-room gallery bursts with more than 100 works – paintings, photographs, sculptures, and mixed-media pieces – each affirming the power, beauty, and vitality of cultural expression across the African diaspora.

Now in its 29th year, Art of the African Diaspora is the Bay Area’s longest-running exhibition of its kind. Its roots stretch back to 1989, when artist and educator Marie Johnson Calloway founded Colors of Black, a salon for African American artists. That gathering inspired artists Jan Hart-Schuyers and Rae Louise Hayward to establish The Art of Living Black at the Richmond Art Center in 1996. Their vision was to showcase the creativity of emerging and established Black artists, bridging communities and widening access to audiences historically excluded from mainstream art spaces.

Over the decades, that founding vision has expanded and evolved, carried forward by artists, family members, and the Richmond Art Center after the loss of Hart-Schuyers and Hayward. In 2018, a new generation of artists formed a steering committee to organize the event; a year later, the exhibition was renamed Art of the African Diaspora to embrace the broader global connections of people of African descent.

The new name reflects not only a broader cultural lens but also an empowered community network that supports artists across the Bay Area. As part of this year’s programming, RAC will host ‘Art of the African Diaspora: Public Art in Our Communities,’ a free panel on Sat., Feb. 21, from 12 to 1:30 p.m. Artists Kristine Mays, James Moore, and Malik Seneferu will join arts administrator Denise Pate for a conversation on the impact and process of public art. The discussion will be moderated by longtime arts advocate and producer Flo Wiley.

Each panelist brings a distinctive voice to the conversation. Mays, known for her ethereal wire sculptures that capture movement and spirit, has exhibited internationally and is represented in collections ranging from the Smithsonian to the Crocker Art Museum.

Sculptor and painter James Moore creates abstract metal works and colorful field paintings that explore movement, balance, and emotion. His recent public art installations include large-scale pieces in Richmond’s Shields-Reid Park. Malik Seneferu, a self-taught San Francisco native, has built a large body of work celebrating African American life through vibrant murals and expressive figurative art.

Representing the institutional side, Denise Pate oversees public arts investments as director of Community Investments at the San Francisco Arts Commission, advancing racial and cultural equity through funding and advocacy. Together, these artists and administrators will trace how public art emerges, from concept to community collaboration, and why it matters.

The Art of the African Diaspora exhibition runs through March 14 at the Richmond Art Center, 2540 Barrett Ave., Richmond. The center is open Wednesday through Saturday from 10 a.m. to 4 p.m. Admission and programs are free and open to the public.

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