BY BEN LESTER
Comedy in 2014 was sort of an enigma. And I’m referring strictly to films that landed in theaters, because we’re all aware that Netflix killed it with their specials this year. Aside from a select few (Birdman, 22 Jump Street, Chef, Neighbors, St. Vincent, and I guess Anchorman 2: The Legend Continues) the genre was severely misrepresented. In the past several months alone films like Dumb and Dumber To, Horrible Bosses 2 (stop the sequels!), and the ill-timed Let’s Be Cops practically came and went without so much as a sound. Sure they all made their money back, but that’s largely contributed to first weekend sales when audiences were none the wiser. Once the reviews dropped and the audience reception sank faster than Kreayshawn’s career, it was a wrap. Looking back even further, there was Tammy, Sex Tape, another goddamned Adam Sandler and Drew Barrymore flick, and A Haunted House 2 (sigh), clearly leaving more to be desired from America’s favorite genre.
Then there’s Chris Rock, who came out of nowhere after a slew of voice-over animated films and starring in two vastly disappointing (and embarrassing) installments of Grown Ups. This time around, Rock returned to his prime form with Top Five. Directing and starring, Rock’s finely-tuned comedy hits all the right notes without making a single desperate reach for laughs. For weeks leading up to the film’s release, Rock’s promotional run for Top Five stands in a league of its own. Straying away from goofy, haphazard comedy that ultimately resides in anything Sandler touches these days, Rock fully immersed himself in the culture this film was made for. From penning powerful essays on the “white industry” of Hollywood in The Hollywood Reporter and giving an impeccable interview to the New York Times, to participating in a “Top Five” rap round table with esteemed industry folks like Angie Martinez and Miss Info, Rock knew exactly what he was doing. And with the film hitting theaters today, the promo doesn’t end. If you’re in the right place at the right time, you just might see America’s favorite comedian pop up at your theater. To sum up his promotional run, Rock put his finger back on the pulse of comedy and refuses to let up.
Top Five, for all intents and purposes, is an examination of where comedy stands today. Sandler pulled a similar move back in 2009 with Funny People, but for whatever reason it failed to truly resonate with its audiences. Funny People followed a dying comedic actor George Simmons (Sandler), facing the inevitable of his terminal cancer. Bolstered by a career of horrific comedies like Mer-man, Simmons made an attempt to make all things right with his loved ones after a life of indulgence and self-serving ambitions. Up until the last few scenes, it was too late for Sandler’s character. Despite all his riches, his legacy was tarnished, his relationships soured, and his cancer-stricken life was in turmoil. While the first portion of the film was downright hilarious, it veered left into clinical depression before you even knew what hit you.
Top Five is an optimistic approach to the same lesson. Andre Allen (Rock) is a successful comedian-turned-actor who built his fame off the series Hammy the Bear. In an attempt to revitalize his tarnished brand and be taken more seriously as a thespian, Allen promotes his historical depiction of the Haitian slave rebellion. His latest feature is tanking as audiences clamor for another Hammy sequel, while his televised wedding with Erica Long (Gabrielle Union) is poised to be the biggest event of the year. Hoping to get an honest interview, he agrees to meet Chelsea Brown (Rosario Dawson) from the New York Times. Throughout the film, Chelsea follows Andre around the city as he promotes Uprize and initiates a series of fast-paced dialogue to get the honest truth from a waning star.
During his time with Chelsea, Andre reveals that the height of his comedy reign was attributed to his alcohol addiction. Since going cold turkey at the behest of Erica, Andre suffered from insecurities about his career. Was alcohol the only cause of his celebrity? Chelsea brings out the best in Andre and throughout Top Five we see his confidence slowly but surely return to top form. Compared to Funny People, Top Five is an optimistic interpretation to self-redemption and hits all the right notes, while avoiding cheesy sentiments.
A lot can be said about Chris Rock and Rosario Dawson’s performance. The organic chemistry easily contributes to their relationship as being one of the most entertaining watches of the year. Right off the bat, we are introduced to these dynamic, opinionated individuals who hold zero punches and seamlessly interact with one another while examining modern culture. And despite their confidence, each of their character’s are hiding from something. Chelsea hides behind her various pseudonyms, afraid that the content she produces isn’t worth attaching her real identity to, while Andre hides from his comedic gift in fear that his alcoholism was his only card. It doesn’t take a brain surgeon to realize the chemistry between the two characters and how this film will ultimately play out, but what’s so brilliant about Top Five is it’s propensity to avoid any overbearing Hallmark moments that can usually plague a well-written comedy.
While I was always excited to check this out, I wasn’t sure if Top Five would make the faulty mistakes that so many comedies tend to have, but it more than delivered on several occasions. On top of powerhouse performances from Rock and Dawson, Top Five boasted an incredible about of supporting acts including Jerry Seinfeld’s strip club antics, Kevin Hart’s on-point commentary on office relationships from the perspective of a black man, and Cedric the Entertainer’s player ways in Texas. I always pay attention to an audience when I sit in screenings. I like to observe what makes them laugh, what keeps them invested, and what turns them off. Top Five doesn’t have any characteristics of the latter, just a brilliant performance on behalf of its entire cast and a relatable narrative that everyone can take something from.
In a year of misguided comedies, short-winded blockbusters, and discouraging run of few hits and more misses, Top Five pulls the 4th Quarter move and exudes the essence of not only what comedy is about, but filmmaking on a grander scope. Welcome back Chris Rock. We’ve missed you.
