Tag: comedy

Kevin Hart Shines in 72 Hours Comedy

People dancing and celebrating at a rooftop party with city skyline and sunset in the background

Netflix recommended this film after the Kevin Hart. I was in the mood for a laugh so happy days!

72 Hours is a high-energy, laugh-out-loud ride that perfectly captures the chaos of generational culture clash while delivering pure escapist fun. Directed by Tim Story and led by Kevin Hart as Joe, a 40-year-old advertising executive whose career is on the ropes, the film starts with a brilliantly simple and relatable premise: Joe is accidentally added to a group chat of twenty-somethings planning a wild Miami bachelor party.

Seeing a golden opportunity to reconnect with youth culture (and save his job with a vodka campaign pitch), he impulsively joins the strangers for 72 hours of pure mayhem.What follows is a nonstop whirlwind of parties, misunderstandings, escalating stakes, and genuine heart.

Hart is in peak form—energetic, self-deprecating, and endlessly watchable as the older guy desperately trying to keep up with the younger crew. His physical comedy and rapid-fire delivery shine, especially in the escalating situations that force him way outside his comfort zone.

The younger cast, including Marcello Hernández, Mason Gooding, Kam Patterson, and Ben Marshall, bring fresh, sharp energy and excellent chemistry. Their interactions with Hart crackle with authentic generational friction that’s played for both big laughs and surprising warmth.

The Miami setting is vibrant and sun-soaked, full of colorful locations, yacht parties, nightlife, and the kind of larger-than-life set pieces that make this feel like a modern hangover-style adventure with its own distinct personality. The script (from writers including Jon Hurwitz and Hayden Schlossberg) balances broad, raunchy comedy with moments of real insight about ambition, relationships, commitment, and what it means to stay relevant without losing yourself.

Supporting turns from Teyana Taylor and others ground the story emotionally, while cameos and side characters add extra layers of hilarity.Story keeps the pacing tight and the tone breezy. Even when the plot piles on complications (gangsters, mistaken identities, and wild party hijinks), it never loses the sense of fun or the central character journey. Joe’s arc feels earned—his desperate attempts to “get” Gen Z ultimately force him to confront his own life choices, and the payoff is both satisfying and genuinely funny.

At its best, 72 Hours is pure crowd-pleasing entertainment: loud, colorful, frequently hilarious, and surprisingly touching. It’s the kind of movie you watch with friends, quote afterward, and immediately want to rewatch for the best bits. Kevin Hart and the ensemble make the most of every chaotic second, delivering a feel-good comedy that understands both the absurdity of midlife panic and the joy of letting loose.

If you’re looking for a breezy, high-spirited Netflix comedy that celebrates the messiness of life across generations, this one delivers in spades. Highly recommended for anyone who wants to laugh, escape, and maybe reflect a little while having a great time. Four stars from me.

The Ultimate Roast: Kevin Hart’s Unforgettable Netflix Comedy Special

Comedian performing on stage with microphone in front of audience

There was a time when I thought Americans were unnaturally courteous and would never slag one another. This is obviously long before Donald Trump. When I watched my first roast, I got a real shock.

They were so mean to each other!

So when I saw who was being roasted this time, I knew I had to watch.

The Roast of Kevin Hart is a chaotic, star-studded, no-holds-barred comedy spectacle that delivers nonstop laughs, surprise appearances, and pure entertainment value as a live Netflix event.

Streamed live on May 10, 2026, from the Kia Forum in Los Angeles as the closing night of Netflix Is a Joke Fest, this nearly three-hour special puts comedy powerhouse Kevin Hart squarely in the hot seat.

Hosted by Shane Gillis with the reliable presence of Roastmaster General Jeff Ross, it assembles a stacked dais of comedians, athletes, actors, and musicians who unload relentlessly on Hart’s height, movie career, personal life, endorsements, and more—while turning the heat on each other just as fiercely.

The result is loud, wildly offensive in the classic roast tradition, and frequently hilarious.What elevates the night is the pure energy and unpredictability. Tom Brady opens by getting his revenge for Hart’s earlier roasting of him, presenting a tiny “newborn-size” Knicks jersey and landing sharp barbs about Hart’s filmography and past.

Usher performs a customized, roasting take on “Let It Burn.” The roster includes Chelsea Handler, Lizzo, Pete Davidson, Draymond Green, Big Jay Oakerson, Tony Hinchcliffe, Regina Hall, and others, with crowd-pleasing surprise turns from Teyana Taylor, Venus and Serena Williams, Katt Williams, and especially Dwayne “The Rock” Johnson.Standout moments abound.

It is definitely not for the easily offended. Even I found some comments about Chelses Handler and abortions, somewhat distasteful to say the least. Nothing is held back.

Sheryl Underwood delivers one of the night’s strongest sets—raunchy, unfiltered, and packed with sharp crowd work and comebacks that earn a genuine standing ovation and reset the room’s energy. Tony Hinchcliffe and Pete Davidson also land hard with strong material. The Rock’s entrance is pure spectacle: lasers, pyrotechnics, “We Will Rock You,” and the booming declaration “Finally… daddy’s home,” followed by a committed, raunchy set that fully embraces the chaos.

Katt Williams’ appearance adds extra electricity; the long-running tension gets addressed onstage in a way that feels like a genuine (if still jab-filled) moment of reconciliation amid the insults.Hart himself is the perfect roastee. He takes the barrage with energy, laughter, feigned outrage, and resilience, leaning into the self-aware humor that has defined his career.

By the end he fires back effectively, celebrates the night, and even brings out Meek Mill for a high-energy performance, turning the event into both a brutal takedown and a larger-than-life celebration of his status in comedy and entertainment.The production feels big and live: a packed house (with notable audience faces), strong pacing once it hits its stride, and the kind of crossfire between political and personal jabs that keeps the room (and viewers) engaged.

While some jokes recycle familiar targets and the runtime is generous, the highlights—the surprise guests, Underwood’s dominance, the Rock’s arrival, the best punchlines, and the overall celebrity pile-on—make it one of Netflix’s most entertaining live comedy events. It’s raw, ruthless, and frequently very funny, exactly what a modern roast should be when done with this much star power and commitment.

If you enjoy the classic roast format, big celebrity chaos, and unapologetic comedy, The Roast of Kevin Hart is a highly entertaining watch.

Four stars out of five from me.

Is Ladies First Worth Watching? A Honest Review

Hand moving a black queen chess piece on a wooden chessboard with bookshelves in the background

As a fan of Sacha Baron Cohen, I thought I’d give this a watch. Ladies First is a 2026 American comedy film directed by Thea Sharrock. It is inspired by the 2018 French film I Am Not an Easy Man by Éléonore Pourriat. It stars Sacha Baron Cohen, Rosamund Pike, Charles Dance, Emily Mortimer, Tom Davis, Richard E. Grant, and Fiona Shaw.

It flips the script on a classic battle-of-the-sexes premise: an arrogant, chauvinistic ad exec wakes up in a parallel world where women hold all the power. It has some sharp moments and strong performances, but it often feels dated, heavy-handed, and stuck between wanting to be a silly comedy and a pointed social commentary.

Sacha Baron Cohen is reliably watchable as Damien Sachs, the swaggering ladies’ man who suddenly finds himself on the receiving end of casual sexism, catcalling, and workplace microaggressions. He leans into the physical comedy and bewildered reactions without over-relying on his usual outrageous personas, which keeps things relatively grounded. Rosamund Pike is excellent as Alex Fox, the formidable, no-nonsense counterpart who matches (and often exceeds) Damien’s former ruthlessness. Their chemistry crackles during the boardroom battles and awkward flirtations, and the supporting cast—including Charles Dance, Emily Mortimer, and Richard E. Grant—adds some British polish to the proceedings.

Unfortunately, the film can’t decide what it wants to be. It starts as broad farce, veers into rom-com territory, and ends with an earnest moral lecture that feels both preachy and toothless. The jokes are often painfully on-the-nose (the soundtrack choices alone scream “get it?”), and many of the gender-reversal gags feel like they were pulled from a 2000s self-help parody or an old SNL sketch. Critics are right to call it dated—it recycles ideas that felt fresh decades ago without adding much new insight.

The script (credited to Natalie Krinsky, Katie Silberman, and others) bludgeons its points rather than trusting the audience. By the time the inevitable romance subplot kicks in, the film loses whatever subversive edge it had.

Three stars from me, there are better ways to spend your time.

Malcolm in the Middle Revival: A Nostalgic Return

Man sleeping on beige couch in a cluttered living room with TV on and empty cups on table

Twenty years ago, Malcolm in the Middle was a mainstay on television. It was a single-camera comedy series that followed a dysfunctional working-class family and starred Frankie Muniz in the lead role as Malcolm, a child prodigy. The ensemble cast included Bryan Cranston and Jane Kaczmarek as Malcolm’s parents, Hal and Lois.

It was a show that I watched with my friends and family.

So, what’s the latest series like? Well, it appears life is still unfair..

This four-episode limited revival, which dropped on Hulu (and Hulu on Disney+) on April 10, 2026, brings back the original magic with Frankie Muniz as Malcolm, Bryan Cranston as the ever-optimistic Hal, and Jane Kaczmarek as the formidable Lois. Nearly 20 years after the original series ended, it feels like no time has passed — except now the kids are grown, Malcolm has a daughter, and the family dysfunction has evolved into even wilder, more relatable territory.

The premise is pure Malcolm: After years of keeping his distance to build a stable life for himself and his daughter, Malcolm gets pulled back into the family vortex for Hal and Lois’s 40th wedding anniversary. What follows is a rapid-fire barrage of slapstick, awkward family revelations, gross-out humor, and surprisingly touching moments about growing up, parenting, and the unbreakable (if exhausting) bonds of family.

The cast chemistry is electric. Cranston steals scenes as the aging but still manic Hal — his physical comedy and wild energy are peak form. Muniz slips back into Malcolm’s exasperated genius with ease, while Kaczmarek’s Lois remains the unstoppable force of nature we love (and fear). The brothers (Reese, Dewey — with a recast that works surprisingly well — and Francis) bring their distinct flavors of chaos, and the whole ensemble feels lived-in and authentic.

I found the end of the first series particularly hilarious, but I won’t spoil.

The show keeps the signature fourth-wall breaks, fast-paced editing, and irreverent tone, but adds emotional depth around adulthood, legacy, and what happens when the “genius” kid becomes the reluctant adult trying to escape the cycle.

Five stars out of five from me. You know what to do.

A Westmeath Man (Comedy)

A wooden rowing boat moored at a stone jetty on a calm, misty lake.

My dear readers, I was given the most terrible insult the other day, that I wasn’t a proper Westmeath man. Why, you may wonder? Well, I didn’t watch the Westmeath v Wexford match on TV about two weeks ago. Apparently, if I had then, maybe I could have willed Westmeath to victory with my special powers.

We’ll forget for now that I was born in Dublin, my parents grew up in Offaly, and a grandparent from Cork. Important facts when one of those counties is in with a chance of an All-Ireland.

And this grave insult came from my friend, who is known by the moniker BobDTraitor. Only on my phone, mind you. I’m not evil. How did he get such a name? Well, ladies and gentlemen, think back to that glorious day in 2004, when Westmeath won Leinster for the first and only time. Surely, you would want to celebrate with your people, not off at some random party with Dublin people. Poor life decisions, I’d say. And treachery.

What is it about Westmeath I love so much? Is it the people? The people from Kinnegad with their funny accents, those squinting windows in Delvin, or even people from Athlone, who lack souls according to the good people of Mullingar.

This is about pride of place, I reckon. I’ll be friends with people from all over the world, even from far-off places like Nigeria, Meath, Poland, and Monaghan. We’re all humans.

So maybe it’s the great wilderness in the County, you know, out there by Castlepollard. Or what we call the Great Lakes, midlands, and Irish style.

Maybe to be a Westmeath man, you have to be just like me.

And to the Westmeath football and hurling teams – I’ll try better next time.

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Documentary Review: I’m Chevy Chase and You’re Not

Those of my readers around in the eighties will probably remember Chevy Chase. I remembered him from comedic films from the time period, but it had been many years since I even thought of him.

So, I said I’d give this documentary film a try. Its name is “I’m Chevy Chase and You’re Not.” From the start, it becomes clear that his bad reputation as a coworker will be a big focus, as well as his past drug abuse.

The film does an excellent job of reminding you just how seismic Chase’s impact on comedy really was. Saturday Night Live doesn’t just get a nod—it gets a victory lap. Watching early clips of Gerald Ford tumbling down stairs and Chase anchoring Weekend Update is like seeing comedy history being invented in real time, mostly held together with duct tape and confidence. The documentary smartly lets these moments breathe, trusting the material to remind you why Chase was, for a time, the funniest man in America.

Then come the movies, and oh, what a parade it is. Caddyshack, Fletch, National Lampoon’s Vacation—the documentary rolls through them like a greatest-hits album where every track is either iconic or inexplicably quotable. There’s a genuine joy in revisiting how Chase perfected the art of the smug, clueless, yet weirdly lovable leading man. His comic persona—equal parts charm and chaos—gets the credit it deserves as a blueprint for generations of comedians who followed.

But then there are the drugs. And he did a lot. And he could be mean. The drug abuse, his comedy, and this meanness all likely have one source – an abusive mother. He developed it as a coping mechanism. It is one he still uses as he makes jokes to deflect difficult or awkward moments, even in his eighties. Still, even his meanness comes off as him being a bit of a rascal.

When the stories get messy. You come away with the sense that Chase’s imperfections didn’t cancel out his contributions—they complicated them, humanized them, and, strangely, made his successes even more impressive.

By the end, the documentary feels less like a verdict and more like a well-earned, slightly crooked standing ovation. It celebrates a man who made millions of people laugh, sometimes by falling down, sometimes by being the joke, and sometimes by being in on it all along.

It gets four out of five stars from me.

If you’ve seen it, what did you think?

Liam Neeson is superb in Memory (2022 film)

Liam Neeson is back in action in the 2022 film, Memory. Like seriously, this guy is a film-making machine at this stage. In this one, he stars as a septuagenarian hitman called Alex Lewis who is—plot twist—forgetting things. Not metaphorically. Not “I forgot where I put my keys.” We’re talking medically, tragically, narratively, forgetting things. Which is bold, because the man’s entire cinematic brand is “I will find you,” and now the movie dares to ask: but what if he occasionally forgets why?

Alex is hired for a job that he doesn’t really want to take, only to discover that the target is a child. In a move that instantly promotes him from “professional killer” to “professional killer with ethics,” he refuses the hit. He gives a warning that the girl is to be left alone. When another contract killer completes the task and goes after him, he turns his very specific set of skills on the people who ordered it. Meanwhile, his memory is deteriorating faster than a phone battery in the cold, forcing him to leave himself notes like a lethal, cardigan-wearing version of Memento.

This is where the movie shines. Instead of pretending Neeson is still 30, Memory leans into age, regret, and cognitive decline—and somehow makes them tense, sad, and weirdly wholesome.

The action is grounded, tense, and refreshingly free of superhero nonsense. Neeson doesn’t leap off buildings—he moves with purpose, like a man who knows his knees won’t forgive him later. Every fight feels heavy, deliberate, and earned.

The supporting cast (including Guy Pearce and Monica Bellucci) adds gravitas, though let’s be honest: this is Liam’s movie, and everyone else is just trying not to get emotionally or physically outmatched.

Oh, and the ending is perfect.

The best film I’ve seen in some time. Five stars out of five from me.

Have you seen it? Let me know what you think.

A Review of Netflix’s ‘Being Eddie’: Insights and Reflections

Anybody within seven or eight years of my age (I’m forty-six) would have fond memories of Eddie Murphy. I still remember seeing Beverly Hills Cop for the first time. A great film that would never have made it without him. It was the first time I saw on-screen a black character who was clearly more intelligent than the white people around him. All the curses stuck out as well.

But what happened to him recently? I haven’t heard his name in an age. I was also interested in what other aspects of his life were like.

That’s why I watched the documentary “Being Eddie” on Netflix a couple of nights ago.

If you are looking for something visceral, raw, then this is not it. Some critics think it’s more like a prelude to him returning to stand-up more than anything else. It retreats from anything awkward/contentious. He comes across as a family man and reminisces about voicing the donkey in Shrek. There is nothing about the paternity suit with Mel B, for example. He has ten children. Musk would be proud.

The best part is when it just lets him speak. I found his tendency towards OCD intriguing. Great minds appear to have a likelihood for such things, and I doubt it’s a coincidence.

He also brings up that he has never won an Oscar, despite his great performances and sometimes playing multiple characters in the same film. I wouldn’t worry about it if I were him; their value has greatly diminished over the years.

The interviews with other comedy legends, Dave Chappelle, Chris Rock, Jerry Seinfeld, Kevin Hart, and more, show what a powerful influence he was on the industry. They all say nice things. What a pity!

I give it three stars out of five. It’ll make you feel warm. Just don’t expect anything beyond the bland, though.

Have you seen it? Let me know what you think.

Why Wednesday Season 2 is Worth Your Time

Dear readers, it is great to be back here with you again. For those who may not remember, or dare I say it, may not have read it, I thoroughly enjoyed the first series of “Wednesday”. The second season was recently released on Netflix, which is playing a blinder at the moment.

There has been quite a delay since the first series. Somewhat ironically, considering the black comedy, Jenna Ortega, who plays Wednesday, did not wish to return. She was not impressed with the rest of her team, and apparently had to come up with a considerable amount of her own dialogue and improvisations. Then, it became a huge hit. I’m sure this gave her much more power to get things done the way she wanted.

So what did I think of Season 2?

One word – excellent. And this from a man mid-forties about a bunch of mostly female high schoolers in a supernatural mystery comedy.

The first series turned Ortega into a worldwide star, and she is just as good in series two. In fact, her skills may even be more challenged in this one, where bodies are temporarily swapped. A powerful dynamic in Series Two is the relationship between Wednesday and her mother, who is played by the legendary Catherine Zeta-Jones. There is a certain warmth underneath the coldness as they try to outwit one another. Wednesday, so she can break free, and fear on her mother’s side that she pushes things too far. A pivotal moment is a veiled sword fight between them to determine if Wednesday gets her psychic knowledge book back.

Pugsley becomes a more central character in Series 2. He has a much greater wish to be loved than Wednesday. It hurts when he is rejected, and he ends up making a very unusual friend, even by the standards of the Addams family.

Another character who lights up this series is Enid, played by the delightful Emma Myers. Enid is an unforgettable character who plays an important counterpoint to the deadpan Wednesday.

Five stars out of five from me. Now, go watch some TV!

So, have you seen it, and what did you think?

The dog, the bird, the wheelchair user and the blind woman (comedy)

A few weeks ago, during the glorious weather that visited Ireland, I was out the back of my garden sunning myself. You know, working from. I notice a bird flying low that flies straight into one of my upstairs windows before falling to the ground with a thud.

“What was that?” Tina asked. Tina and her fiancé are currently visiting my house, like forever, while their own house is being completed. They both have visual impairments.

“A bird crashed into the window. Ah, no, it’s after walking into the kitchen. We’ll never get it out.”

Then, out of the corner of my eye, I saw Paris coming to the rescue. Paris is a Labrador, and an occasional guide dog when it suits her.

Now, I imagine its honed instincts, which evolved over millennia, turning it into a cold, ruthless killing machine.

Paris went into the kitchen and then came straight back out. There was no sign of any blood. It put its toy bird in its mouth and brought it into the kitchen before exiting again.

“Ah, it brought a friend for the bird,” Tina gushed.

That dog is such a disappointment.

“Okay, Tina, you go in next. Get rid of the bird.”

“Me, shur I can’t see it. You’re the man.”

“Well, I never,” I replied with indignation, “I believe in equality and women in leadership. This is your time to shine.”

There is a bit of back and forth before I convince her to go in. Bad news, I have to follow.

We are all in the kitchen, except for Paris, who is resting. The bird is standing in my bowl of bananas on the counter.

The bird flaps its wings and briefly flies. Tina screeches. She’s worried about it flying into her face. Well, at least it wouldn’t be mine.

“Be brave, Tina, take the sweeping brush and get it to go out.”

The bird flaps again, and Tina threatens to abandon me.

It does another short flight and lands near the back door.

“Okay, Tina, stick out the broom. It’s on the floor.”

She moves towards the bird, and it walks outside before flying away.

I was so brave.