Are we still surprised that comedians and comedians can turn to drama? Or are we complex enough to know by now that if you can do comedy, you can do anything? He tried to move in another direction, which usually failed below the waterline.
A true story (Netflix) is here to expand the mountain of evidence:
Comedy to drama is a path worth taking. The hugely successful American comedy and stand-up star Kevin Hart plays a fictionalized version of himself. The hugely successful comic strip The Kid Riding High after starring in the multi-billion dollar superhero film. Who triumphantly returns to his hometown of Philadelphia.
The first episode starts with him talking to the invisible therapist. “People think they know me just because I can make them laugh or because they’re at an event. But they really don’t know what I actually did to get here. Or what it took to stay here.”
We’re back to the previous week, where the one-hour episode (about half the rest) started. The boy finished his 20th appearance on the Ellen DeGeneres Show. And he and his entourage dealt with obsessed Pennsylvania fans. As they settled on Four Seasons ($5,000 per night, “but I haven’t had one in years. Rooms pay more.” ) before the concert he will give in the city.
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The setting – both marketing and advertising. Aims to encourage viewers to think of Hart and son as the same thing (in real life. Hart is a frequent guest on the DeGeneres show and was born and raised in Philadelphia) serialized as an autobiography c-sense-negation. So it’s surprising that things turn out to be an utterly senseless crime spree so quickly.
His dear but annoying older brother Carlton waited for the boy in his hotel room.
It is played with unmatched intensity by Wesley Snipes. Who instils a fit of burning anger over The Kid’s success, like sheer crime. It’s a turbulent, scene-consuming show from the start and Hart. In his first dramatic role – is excellent for the actor and his brother. Who must avoid being crushed by Carlton’s presence alone.
Carlton was the one who tricked the boy into getting out of the car for one night. And who called a “friend” to help clean up the body the boy encountered the following day. Friends – Ari – is brilliantly played by Billy Zane, effortlessly and explosively in Larry Hagman style. Suddenly we feel with Snipes in an alternate reality where the fading ’90s talents have found their place. And are now taking their rightful place as signature actors in the late stages of their golden career.
From then on, the rest of the episodes – and the actual series. It revolves around ditching corpses more and more in a desperate, almost omission with nosy cops. Most of whom are endlessly distracted from their jobs when they see the boy’s famous face. Avoid gangsters and generally play Whac-a-Mole with challenges popping up all the time.
Everything is well done and has some lovely details:
The question of how to pay criminals large sums without being detected has always preoccupied me and was confronted here. Plus, Hart is a presence you’ll want to keep. While Snipes is so persuasive that you have no choice but to follow suit. It feels – a little, but inevitably – is not necessary.
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The point of contact between Hart and the child. Which may lead to a study of the power of fame and money to destroy. It is too insignificant to cause any tension or wonder (did he really…? Could it be…? ) he was. Such baroque exaggeration.
The real power can lie in the first few minutes. Hart and his team must negotiate the fans’ actions – aggressive, well-meaning? Intentionally or unintentionally racist? – Create material for the show (since the author’s contribution decreases slightly with each step) and try to find elegance under pressure. Even if the pressure is beneficial. I’ve seen less of this on-screen than a clunky body in a suitcase, and it’s a more real story worth following.