NEW YORK (AP) — In the annals of film festival flops — from unexpected boos to red-carpet gaffes — the premiere of the Will Ferrell, Kevin Hart comedy "Get Hard" will go down as a doozy. 
 
 In this image released by Warner Bros. Entertainment Inc., Kevin Hart, right, and Will Ferrell appear in a scene from "Get Hard." (AP Photo/Warner Bros. Entertainment Inc., Patti Perret) (Associated Press) 
 
 In this image released by Warner Bros. Entertainment Inc., Kevin Hart, top, and Will Ferrell appear in a scene from "Get Hard." (AP Photo/Warner Bros. Entertainment Inc., Patti Perret) (Associated Press) 
 
 After the film premiered last week at the South By Southwest Film Festival, during a Q&A with director Ethan Cohen, an audience member voiced not so much a question as a harsh judgment. "This film seems racist," he said, using an expletive. Another audience member also asked if the film, about a hedge fund manager (Ferrell) who witlessly hires a law-abiding acquaintance (Hart) to prepare him for maximum security prison after being sentenced for fraud, was perpetuating stereotypes. 
 
 That sound you might have heard emanating from Austin was the loud cursing of marketing executives for the film, which opens Friday. 
 
 Though film festival Q&As are often filled with questionable observations, these atypically blunt rebukes received outsized attention, drawing headlines from The Los Angeles Times and others. The damage continued with early reviews that also questioned the movie's handling of homosexuality in various scenes. 
 
 Much of the film's comedy rests on the Ferrell character's fears of being raped in prison, and among his preparations is an attempt to have oral sex with a gay man in a bathroom stall. A critic for The Guardian wrote that future viewers "will be astonished that such a negative portrayal of homosexuality persisted in the mainstream in 2015." Variety wrote that the film was "undone by some of the ugliest gay-panic humor to befoul a studio release in recent memory." 
 
 After initially seeking to avoid the controversy (Cohen, Ferrell and Hart cancelled interviews with The Associated Press before Ferrell and Hart rescheduled them), the film's stars and producers are vigorously defending their comedy as not a representation of stereotypes but a satire of them. 
 
 "Any time you're going to do an R-rated comedy, you're going to offend someone," said Ferrell in an interview alongside Hart. He continued: "But that's kind of what we do. We provoke. We prod. We also show a mirror to what's already existing out there. We're playing fictitious characters who are articulating some of the attitudes and misconceptions that already exist." 
 
 "Get Hard" was written by Cohen along with Jay Martel and Ian Roberts, writing-producers from the sketch comedy show "Key and Peele." This is Cohen's directorial debut after penning screenplays to films like "Idiocracy" and "Tropic Thunder," a film that memorably flirted with racially sensitive territory in Robert Downey Jr.'s lampoon, in black face, of a Method actor run amok. 
 
 In many ways, the comedy of "Get Hard" works similarly. Just as the humor of Downey's actor wasn't in his favor but about his own self-obsessive, racist delusions, Ferrell's character is a parody of the narrow perspective of the elitist one percent. He hires Hart's carwash owner and family man under the mistaken presumption that he's been to prison, that he's "hard." 
 
 "You're looking at two characters that judged each other by their cover," said Hart. "And after peeling off some of the layers to their onion, they realize that, 'Oh my God, this isn't the person I thought it was from the jump. It's a completely different person.' And that road to friendship ensues." 
 
 "Get Hard" was conceived as a way to pair Hart and Ferrell, two of the most popular and bankable stars in comedy. Whether the film succeeds on its own terms or not, it's an attempt (one generally uncommon in wide-release studio films) to comment on contemporary issues of inequality and race within the context of a broad, often crude comedy. 
 
 Adam McKay, Ferrell's longtime collaborator and a producer of "Get Hard," said any backlash has been overinflated by "lazy journalism." 
 
 "Given that we're a country with runaway income inequality, more people in jail than any other country, this is what people are crowing about? Trying to in a funny way deal with these issues?" said McKay in a phone interview with fellow producer Chris Henchy. "It really kind of got me mad. It's just cheap is what it is." 
 
 McKay said the film was fashioned as "a silly, filthy comedy" on the outside, but a satire of income inequality underneath. Seeing the film as racist, he says, is "kind of ridiculous and disheartening," since its intention is to parody those who live in bubbles of wealth and prejudice. To claims of homophobia he protested: "Any individual going to maximum security prison would be afraid of violence and sexual assault. To equate that with homosexuality is ridiculous." 
 
 Others have agreed, albeit more skeptically. In reviewing the movie for Vanity Fair, Eric D. Snider wrote that the film wasn't offensive to him as a homosexual; it's just not funny enough. 
 
 "It's not mean-spirited, and it's panicky straight guys, not gays, who are the target," wrote Snider. "It's just disappointing, that's all." 
 
 Any bad buzz for "Get Hard" has likely been partially alleviated by the goodwill both Ferrell and Hart have in storage, as well as the distraction of Ferrell's dependably entertaining late-night appearances. The NAACP and GLAAD have not commented on the film. 
 
 "Here's the beautiful thing about Will and myself: You're looking at two guys that are no strangers to criticism," said Hart. "The critic's job is to critique. I don't think I've ever had a great review on a film that I've done. Not one. Everybody always has had something to say. And if they're not talking, then you have a problem." 
 
 Whether the talking around "Get Hard" will affect it at the box office remains to be seen. 
 
 "People will go see it and there probably will be some people who are offended. It's definitely a very dirty movie and it's harsh," says McKay. "It's a good-hearted movie at its root. Everything comes out in the wash with movies because they hang around for, like 78 years. You always end up seeing what a movie really is in the long run." 
 
 ___ 
 
 Lennox reported from Los Angeles. ||||| Our critic says... Read review Rotten Tomatoes ® Score 44 % Reviews: 98 'Casa de Mi Padre': Ay Dios Mio! Glenn Kenny, Special to MSN Movies "Hyman Roth always makes money for his partners." You might remember that line from "The Godfather: Part II," which I think we can all agree was, at the very least, a pretty good movie. I bring this up in part because I'd rather be thinking about at least a pretty good movie right now rather than the one I have to write about. (And yes, I know, "Godfather: Part II" is more than just a pretty good movie, but bear with me.) And I bring it up in part because "Casa de Mi Padre" made me think the only reason it got made is that, up until now, comic actor Will Ferrell has always made money for his partners. The only question is, was "Casa de Mi Padre" made with the expectation that it could, despite being so almost unwatchably awful, make more money for Will Ferrell's partners, or was it made to indulge Will Ferrell on account of his past et cetera, et cetera? Search: More on Will Ferrell "Casa" is essentially a one-joke movie, and the joke is that it's entirely in Spanish, a language which non-Hispanic performer Ferrell speaks with the proficiency of a reasonably linguistically adroit contemporary high school student. The movie ostensibly parodies ... well, I'm not quite sure what it parodies, actually. I'm not hugely conversant with contemporary commercial Mexican cinema, and I have a grasp of certain conventions of no-budget Mexican cinema of the late '40s and early '50s from certain pictures directed by Buñuel and other, and the Mexican telenovelas I've seen (not too many) are way more technically proficient than what this seems to be parodying. Whatever is being parodied is being lampooned in part on the grounds of being completely technically inept (a really lame animatronic white lion is one of the film's running, um, gags), so ... yeah, I really don't know. I do know that the plot has Ferrell as the dumbass (of course) scion of a wealthy rancher (played by the now-deceased Pedro Armendáriz Jr., whose career could have done with a better penultimate bow) whose life is turned upside down when his more successful brother (Diego Luna) comes home from a business trip with a gorgeous fiancée in tow ... and a new business venture, perhaps involving "las drogas," to boot. Gael Garcia Bernal, looking rather like Jean-Paul Belmondo, turns up as a rival drug kingpin. (Neither he nor Luna look to be enjoying what must have amounted to a paid vacation nearly as much as one might have expected.) Sigh. I feel like an idiot just beginning to describe the story line. This is one of those pictures, alas, that is critic-proof merely by dint of the fact that applying any amount of thought to it, superficial, or serious, or what have you, is an entirely humiliating, self-abnegating experience. Conceived and executed by a couple of Ferrell's former "Saturday Night Live" cronies, "Casa" is arguably an exercise in you-either-get-it-or-you-don't humor, and, by the way, being high on weed (or something) is likely really gonna enhance the chances of your "getting it." (The movie ends with a post-credits dope joke featuring Dan Haggerty. Yeah, the "Grizzly Adams" guy.) Thing is, I wasn't high on weed, but I still think I "got" it, only I didn't laugh. OK, maybe once, at the beginning. Not a whole lot after that, though, and I found the experience of sitting through the relatively scant 80-plus minutes of the movie to be thoroughly tedious. Humor being a subjective matter, of course, your experience may be different. But, to paraphrase a former editor of mine, if it is, maybe we shouldn't have lunch anytime soon. Glenn Kenny is chief film critic for MSN Movies. He was the chief film critic for Premiere magazine from 1998 to 2007. He contributes to various publications and websites, and blogs at http://somecamerunning.typepad.com. He lives in Brooklyn. For more movie news, follow MSN Movies on Facebook and Twitter. "Hyman Roth always makes money for his partners." You might remember that line from "The Godfather: Part II," which I think we can all agree was, at the very least, a pretty good movie. I bring this up in part because I'd rather be thinking about at least a pretty good movie right now rather than the one I have to write about. (And yes, I know, "Godfather: Part II" is more than just a pretty good movie, but bear with me.) And I bring it up in part because "Casa de Mi Padre" made me think the only reason it got made is that, up until now, comic actor Will Ferrell has always made money for his partners. The only question is, was "Casa de Mi Padre" made with the expectation that it could, despite being so almost unwatchably awful, make more money for Will Ferrell's partners, or was it made to indulge Will Ferrell on account of his past et cetera, et cetera? Search: More on Will Ferrell "Casa" is essentially a one-joke movie, and the joke is that it's entirely in Spanish, a language which non-Hispanic performer Ferrell speaks with the proficiency of a reasonably linguistically adroit contemporary high school student. The movie ostensibly parodies ... well, I'm not quite sure what it parodies, actually. I'm not hugely conversant with contemporary commercial Mexican cinema, and I have a grasp of certain conventions of no-budget Mexican cinema of the late '40s and early '50s from certain pictures directed by Buñuel and other, and the Mexican telenovelas I've seen (not too many) are way more technically proficient than what this seems to be parodying. Whatever is being parodied is being lampooned in part on the grounds of being completely technically inept (a really lame animatronic white lion is one of the film's running, um, gags), so ... yeah, I really don't know. I do know that the plot has Ferrell as the dumbass (of course) scion of a wealthy rancher (played by the now-deceased Pedro Armendáriz Jr., whose career could have done with a better penultimate bow) whose life is turned upside down when his more successful brother (Diego Luna) comes home from a business trip with a gorgeous fiancée in tow ... and a new business venture, perhaps involving "las drogas," to boot. Gael Garcia Bernal, looking rather like Jean-Paul Belmondo, turns up as a rival drug kingpin. (Neither he nor Luna look to be enjoying what must have amounted to a paid vacation nearly as much as one might have expected.) Sigh. I feel like an idiot just beginning to describe the story line. This is one of those pictures, alas, that is critic-proof merely by dint of the fact that applying any amount of thought to it, superficial, or serious, or what have you, is an entirely humiliating, self-abnegating experience. Conceived and executed by a couple of Ferrell's former "Saturday Night Live" cronies, "Casa" is arguably an exercise in you-either-get-it-or-you-don't humor, and, by the way, being high on weed (or something) is likely really gonna enhance the chances of your "getting it." (The movie ends with a post-credits dope joke featuring Dan Haggerty. Yeah, the "Grizzly Adams" guy.) Thing is, I wasn't high on weed, but I still think I "got" it, only I didn't laugh. OK, maybe once, at the beginning. Not a whole lot after that, though, and I found the experience of sitting through the relatively scant 80-plus minutes of the movie to be thoroughly tedious. Humor being a subjective matter, of course, your experience may be different. But, to paraphrase a former editor of mine, if it is, maybe we shouldn't have lunch anytime soon. Glenn Kenny is chief film critic for MSN Movies. He was the chief film critic for Premiere magazine from 1998 to 2007. He contributes to various publications and websites, and blogs at http://somecamerunning.typepad.com. He lives in Brooklyn. For more movie news, follow MSN Movies on Facebook and Twitter. Back To Top ||||| "Sometimes, you just do what you've gotta do to keep the machine moving." Hannibal Buress wasn't really joking. As the penultimate act on Comedy Central's Roast of Justin Bieber, which taped on Saturday on the Sony lot in Los Angeles, the Chicago comic took it upon himself to get real for a second. After quipping that his fellow panelists looked like "Tyler Perry's Of Mice and Men," Buress put in plain terms exactly how he felt about the guest of honor: "They say that you roast the ones you love, but I don't like you at all, man. I'm just here because it's a real good opportunity for me." He added, "Actually, you should thank me for participating in this extremely transparent attempt to be more likable in the public eye." Buress paused for effect before adding: "And I hope it doesn't work." 
 
 Related PHOTOS: Every Comedy Central Roast, From Worst to Best From Flavor Flav to Larry the Cable Guy, we rank every one of the network's insult-athons 
 
 The Broad City star's time at the podium was uproariously funny; he had some of the night’s best lines, joking that Snoop Dogg looked "like a rejected Mortal Kombat boss" and noted that roast master Kevin Hart had to be "back on Shaq's keychain by midnight." But his pointed comments near the end of the night put the rest of event in its proper context. Bieber, who ended the show's climactic rebuttal segment with a stammering, long-winded plea for a second chance from his fans and the public at large, seemed to be at cross purposes with the panel of comic assassins all night. Previous editions of these Comedy Central shindigs have felt like friends and colleagues coming together to celebrate one another, albeit in the most acid-tongued fashion imaginable. This felt more like a networking opportunity for the participants (did you know you can buy Ludacris' new album, Ludaversal, the day after the show airs, on March 30th? You do now!) — most of whom have at least a decade on the 21-year-old bad boy. 
 
 Michael Tran/FilmMagic/Getty 
 
 That's not to say it wasn't funny. Kevin Hart, undeniably the film industry’s marquee-name comedian of the moment, did a superb job as master of ceremonies — which didn’t stop folks from laying into him about his indiscriminate career choices again and again. Veteran roaster Jeff Ross was the subject of Bieber’s funniest jab, about hitting the journeyman comic's Saturn in the parking lot. Natasha Leggero suggested that the pop star honed his dance moves by dodging coat hangers in his teen mother's womb. (This was the closest anyone came to "losing" the crowd; everyone in the audience was more than game to see the manchild of the hour get taken down a few pegs.) Surprise guest Will Ferrell, who came in character as fake news anchor Ron Burgundy, ran down an itemized list of the Canadian pop star's transgressions, making him the only roaster who spent so much as half his time at the mic on the night's supposed subject. For the most part, Bieber got off scot-free; as a tool to ingratiate himself to people by giving professional shit-talkers the chance to treat him like a piñata, the roast fell decidedly flat. 
 
 In fact, the most damning indictment of the subject came in the form of Chris D'Elia, whom it was pointed out again and again is the singer's favorite comic. His set was staggeringly tasteless, touching on: rape; ISIS beheadings; Eric Garner and the NYPD; Kevin Hart killing his ex-wife; Bill Cosby's alleged sexual assaults (twice); slavery; Bruce Jenner's gender reassignment; and, finally, one last ISIS joke, for which Bieber stood to enthusiastically applaud. The star of NBC's Undateable seems to revel in what he considers taboo humor, but he attacked all his subjects in the most irredeemably fratboy manner possible. Leggero's description of D'Elia as "Dane Cook with half the talent and a rich father" was totally on point; the notion that this guy is who the singer considers the pinnacle of funny is a far bigger slam on him than just about anything the roasters could've said. 
 
 And the alpha-male stand-up wasn’t the only one who misread the temperature of the room. Though many of the digs at first-time roaster Martha Stewart's expense noted she'd done more prison time than the two (black) rappers on the stage, her joke that implied the phrase "n----r-rich" in describing Hart was woefully misguided. The rest of the low-hanging fruit was dutifully plucked again and again, to diminishing returns: Leggero was a slut; Stewart was old; Hart, O'Neal, Buress, Ludacris and Snoop were black. Three jokes about the deceased Paul Walker fell flat; after the roast, Bieber himself said he could have done without them. 
 
 Michael Tran/FilmMagic/Getty 
 
 There were, however, moments where the comics dealt with edgy material more deftly. Saturday Night Live newcomer Pete Davidson, who opened the proceedings with one of the night's livelier sets, recalled the true story of his father dying in the World Trade Center on September 11th — then said that Soul Plane, which starred Snoop and Hart, was still "the worst experience of [his] life involving a plane." When Ross later made a crack about Davidson's dad and the W.T.C., then quickly apologized to Shaquille O'Neal ("I know that was one of your favorite buildings to climb"), the massive former NBA center doubled over for so long that Hart pretended to check for a pulse. And as blazed as Snoop seemed throughout the evening, his off-teleprompter rant about Bieber's use of a racial epithet, which will surely be cut from the broadcast, was as animated as it was hilarious. 
 
 Related PHOTOS: Justin Bieber's Wild Decline: A Timeline From the top of the charts to the back of a squad car, a look at how the superstar has unraveled 
 
 So the roast was a celebration, just not of Justin Bieber. Still, it’s ridiculous to complain when you got to witness what felt like so many rare moments: How often does Snoop Dogg get to make less-than-subtle plays for Martha Stewart's affection? How many days a year does Shaq get to revel in the fact that he had a rap career, even if You Can't Stop The Reign is the butt of every joke? When else does Jeff Ross get treated like he's famous? Yes, Bieber seemed stiff and was evidently uncomfortable throughout the evening, but seeing comedians hit bullseyes with clever banter about their fellow roasters — Davidson explaining to the younger attendees that they might know Ludacris from their parents' Now That's What I Call Music CDs, or Leggero praising the diminutive Hart for doing all his own stunts, "like getting in and out of the bathtub" — are as much as a reason for tuning in to these verbal battle royales. If not for Bieber's name on the giant marquees that flanked the stage, you could be forgiven for forgetting he was the star. Given how much the young man squirmed through out this career-rehabilitation publicity go-round, maybe he'd like to forget, too.
– Will Ferrell's latest comedy about a wealthy white guy who enlists a law-abiding black man to help him prepare for life in prison is proving more controversial than his usual work. With accusations that Get Hard is homophobic and racist, Ferrell defends the flick to the AP, noting he and costar Kevin Hart "show a mirror to what's already existing out there." Do critics agree? "Perhaps there's an edgy dark comedy to be made about race, class, and the prospect of facing prison, but Get Hard is not it," Claudia Puig writes at USA Today. The film's "jokes are a cavalcade of racist and homophobic humorlessness." And though its cracks at class divisions perform better, they aren't worth the price of a movie ticket. Her advice: "Unless you're really hard up for entertainment, stay away from this tone-deaf raunchfest." It "seeks to make you laugh while also risking offense by going too far. It succeeds on both counts," writes Peter Howell more favorably at the Toronto Star. The film will undoubtedly offend a portion of the audience, but "I enjoyed it because, unlike similar films of its ilk, everybody is in on the joke," he writes: white, black; rich, poor; etc. "It's not great cinema, but it's also not just a scattershot of dumbness and vulgarity." And "Ferrell and Hart make a good team." Cary Darling at DFW is less kind. "Since anyone who has seen the trailer has already seen many of the film's best moments, making it through to the end does feel like something of a life sentence," she writes. Excepting a scene in which Hart portrays a black guy, a Latino guy, and a gay black guy within a matter of minutes, the film just doesn't bring the laughs. Instead, it's "weighed down by middle-school jokes." At its best, Get Hard "does a smartly scathing job" of attacking privilege and entitlement, writes Ann Hornaday at the Washington Post. At its worst, it "veers perilously close to committing the very sins it aspires to criticize." Particularly, "the movie is drenched in gay panic" and includes "tiresome 'don't drop the soap' jokes," based on Ferrell's character's fears about being raped in prison. At least "Ferrell and Hart have a genial, easygoing chemistry," Hornaday writes.