Kevin Hart: Irresponsible Review 2019 TV-Show Series Cast Crew Online
Director: Leslie Small
Star: Kevin Hart
Review: In his latest Netflix special Irresponsible, Kevin Hart has two modes. They resemble the surface because Hart brings the same intense, physical and exuberant energy to everything, and takes the audience from one story to the next at an accelerated pace that rarely stops to breathe. But under the energy, there are some jokes that turn towards the personal, toward vulnerability, that feel trapped in something raw. And there are some who feel that Hart took a pass.
The set begins with Hart’s introduction of the title: “The name is irresponsible for many reasons: we will delve into all those reasons as the show progresses,” he begins. The special was filmed months before the disastrous situation of Hart’s Oscars, in which he accepted the host concert and then left after a public uproar over his story of homophobic jokes. Despite the apparent relevance of this special material, Hart’s introspection here focuses primarily on his relationship with his family, and also seems reluctant to stop at any time of great revelation. “I really do not like to waste my time,” he says. “I feel that while I’m here, we’re going to shit.” He begins a story about how his children surprised him and his wife by having sex that quickly becomes a very funny little sequence about different sexual positions and how you can play them as something else if your children interrupt you.
It is a strong opening, and it is a demonstration of the most effective things of Irresponsible. It allows Hart to play with his physical, persuasive and insightful performance, and the stage theater in the round for the special, a square stage surrounded by the public on all sides. Hart takes the premise, how to disguise various sexual positions as other harmless parental activities, through his steps, illustrating various options and representing the possibilities, his face tense and contorted as he imagines trying to have an erroneous conversation with his children while he is still halfway. -push.
That initial bit also works because it allows Hart to position itself in a relative position of vulnerability. On stage, he is the one in control: he is framing the story, he is playing himself and is carefully adjusting the pace and madness of each imagined incident. But the central idea of the joke is that Hart is naked, trapped in a highly revealing and unguarded position. He is on display at a time when he did not intend to be. There is a slightly different version of the same idea later on in a moment about how he put a mirror on his bed and glimpsed his own dirty, bare feet while having sex with his wife (“Did not I put on shoes today? Jesus? “Christ!”) And then another, about how Hart, a short guy, feels hurt by his wife’s search history for pornography, which shows that she’s looking for greatness.
They are jokes about their insecurity. It is something that is implicit in the configurations that put him in a position of helplessness, and becomes briefly explicit when related to the recent events of his life. He was caught cheating on his wife, behaved irresponsibly, and Hart’s material about his family and his sexual life is reflected in everything that is committed to saving his marriage and, as a result, he feels insecure. Because he now spends his life trying to reassure his wife and make her feel safe, he feels less secure. Your foot is less safe.
Most of the first half of the special flows smoothly through that idea, spinning through a digression towards when Hart’s daughter first has her period that feels uncomfortably uncomfortable. But it fits very well into the larger issue: Hart means well, sometimes he makes mistakes, sometimes he acts irresponsibly and often ends up looking like a fool.
But throughout the second half of Hart’s set, things start to fade a bit. There is a sequence about a trip that Hart took to Japan that is quickly shuffled through several bits, one about a roller coaster, something about his shellfish allergy, some mimicry, some language barrier, that do not come together in nothing greater than the sum of its incomplete parts. The final part of closing, on a family ski trip to Aspen, tries to make that “pull of the thread of other jokes through the act of closing a game” gambit. The unmotivated configuration of the whole premise, which sees Hart trying to compete against singer Seal for reasons that never explode, undermines the whole thing: callbacks are nice, but the joke itself is not substantial enough to support them .
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