Kevin Hart

  • Jumanji: The Next Level (2019)

    Jumanji: The Next Level (2019)

    ByChristian Sauvé Movie Review

    (Amazon Streaming, December 2020) The least you can say about Jumanji: The Next Level is that it’s consistent with its predecessor. Further digging into the “Jumanji as videogame” spin from its earlier predecessors, this sequel keeps more or less the same level of humour, body-switching gags (leading to acting impersonations) and level-based schematic narrative. But when you’re got distinctive performers like Dwayne Johnson, Jack Black, Kevin Hart, Karen Gillan, Awkwafina, Danny Glover and Danny DeVito, well, why tinker with a winning formula? The result somehow avoids excessive repetition, and keeps up the blend of humour and special-effects adventure. Director Jake Kasdan keeps things moving at a brisk clip (unusually enough, the 123-minute effects-heavy film was completed in something like ten months) and the actors deliver what they were hired for. Jumanji: The Next Level may not be easy to distinguish from its predecessor, but it’s more or less the same level of quality, and that was one of the best outcomes anyone could hope for.

  • Think Like a Man Too (2014)

    Think Like a Man Too (2014)

    ByChristian Sauvé Movie Review

    (On Cable TV, June 2019) The entire gang from the original Think Like a Man is back for more in its sequel as they all head to Vegas for a wedding. Things obviously don’t go as planned, as both the men and the women have their own bachelor/ette party adventures on their way to the wedding. To its credit, Think Like a Man Too knows how much to keep from the original film, and how much variety to include. The change of scenery to Vegas suggests not only new sights and subplots, but new familiar clichés to follow. The tone of the film also shifts slightly—while the emotional growth of the characters does find a few new areas to explore, the couples are well established already and so Think Like a Man Too strikes out for a lighter, more superficial but also more obviously comic tone. Director Tim Story has fun playing with music cues [interrupting the background score for comic effect, or indulging in a full-blown music video set to Bell Biv DeVoe’s “Poison”—probably the series’ comic highlight and a strong musical moment in a film with a great soundtrack] and his direction is deservedly flashier this time around: with its ensemble cast’s worth of subplots, the film packs quite a lot of stories in its 106 minutes. Plot-wise, the film indulges in familiar Vegas excesses, but seems to breathe more easily now freed of the shackles of the self-help book that inspired the first film. Still, the fun of the film is spending some more time with its sympathetic characters, whether it’s the boys or the girls. Michael Ealy has been bumped up to leading man, with Kevin Hart being used just a bit too much in his over-the-top persona and Dennis Haysbert having a very funny minor role. Distaff-side, Taraji P. Henson and Jenifer Lewis seem to have the most to do, although you’ll be forgiven for staring at Meagan Good, Regina Hall or Gabrielle Union. Shallowed but funnier than the original, Think Like a Man Too offers just enough of the same and just enough new to be a worthwhile follow-up to the original. I watched both back-to-back, and still liked everything about the series after four continuous hours.

  • Night School (2018)

    Night School (2018)

    ByChristian Sauvé Movie Review

    (On Cable TV, May 2019) Star vehicles works best when you really, really like that star, and while I’m still relatively positive about Tiffany Haddish and Kevin Hart, I’m feeling that both of them, with their oversized comic personas, could be a bit over-exposed at the moment. (Hart more than Haddish given his longer time in the spotlight.)  This doesn’t help Night School, but to be honest there’s more than just that as an issue here. The film is lazy in the way most Hart vehicles have been so far, with him playing more or less the same character, and exhibiting the same tics. (Given that it’s partially based on exasperated annoyance, this is not conductive to a long-term career. We’ve seen what happened to Chris Tucker.)  The gags are obvious, predictable but more damningly far too long for their own good—many of them keep going well after the humour has been milked from it. Did no one re-read the script and suggest that some moments weren’t that funny? Oh wait—someone did, because Night School credits no less than six writers on this trifle of a movie. The stitches definitely show: The film errs between silly comedy and pseudo-heartfelt sentiment (and drags badly during those later sequences), and work best when it loosens up to feature the entire night school group rather than when it focuses on just Hart and Haddish. There are, to be fair, a few good moments. (Not all of them feature Megalyn Echikunwoke in lingerie.) But there are also a fair number of head-scratchers (even by dumb comedy standards), and unconvincing plot beats. The film’s worst trait is its predictability, largely based on the comic personas of the actors. The scenes can be seen coming well in advance, sapping much of the film’s energy. While Night School isn’t horrible, it’s also less than expected, and definitely less than it could have been. I can’t help but think that something got lost after the third or fourth writer.

  • Jumanji: Welcome to the Jungle (2017)

    Jumanji: Welcome to the Jungle (2017)

    ByChristian Sauvé Movie Review

    (On Cable TV, July 2018) I frankly wasn’t expecting much from a return to the Jumanji universe: The original is uneven enough (something not helped at all by its copious but primitive CGI effects) that a sequel seemed unnecessary—it felt even less necessary when it became obvious that it was going to focus on videogames, a topic as overexposed as could be. But I’ll be the first to admit that I was unexpectedly charmed by the result: Anchored by the likable Dwayne Johnson, supported by the careful use of often-grating comic actors as Kevin Hart and Jack Black, and further enhanced by a great performance from lesser-known Karen Gillian, the cast is up to the film’s surprisingly witty script. Not only revisiting the Jumanji concept through familiar videogame mechanics, Welcome to the Jungle wrings comedy out of shifting character relationships, body identity questions, and videogame tropes addressed with some wit. While the structure is schematic by design and some plot developments can be seen well in advance, much of the film’s interest is in the moment-by-moment beats. It does deliver a bit more than expected, which is already not too bad considering the tendency of modern reboots, sequels and rip-offs towards mediocrity. 

  • Central Intelligence (2016)

    Central Intelligence (2016)

    ByChristian Sauvé Movie Review

    (Video on Demand, October 2016) As much as I like Kevin Hart and Dwayne Johnson as comic performers, there’s something off with Central Intelligence that makes the film feel smaller than their combination would suggest. To its credit, the film does veer off in less simplistic territory than you could expect from the first few minutes: there’s a layer of uncertainty to Johnson’s character that makes the story a bit more self-challenging than expected, even though the ultimate outcome of the various twists is never in doubt. Unfortunately, it’s that same uncertainly that so often prevents the film from snapping fully in focus. Johnson’s character is pushed to such extremes that it’s tough to suspend disbelief that he would exist even in the film’s reality. It doesn’t help that Central Intelligence, in much of the same way as other contemporary action/comedy hybrids, veers back and forth between persona-based improvisation and strictly scripted madcap action scenes. The uneven pacing is an issue, especially when the result runs close to two hours. At least the two lead actors deliver more or less what’s expected of them. Johnson is ready to try anything for a laugh and his charisma helps the film hide some of its more inconsistent problems, but Hart seems a bit held back by the place taken by his co-star and the demands of the production—he’s usually better in more free-flowing films. As for the rest, director Rawson Marshall Thurber keeps things going during the action scenes, perhaps further highlighting the two-speed inconsistency of the film. Still, if you’re in the mood to see Johnson and Hart goof on their respective personas, Central Intelligence will do … although it’s not hard to be disappointed by how much better the film should have been.

  • Ride Along 2 (2016)

    Ride Along 2 (2016)

    ByChristian Sauvé Movie Review

    (Video on Demand, April 2016) Anyone who goes into Ride Along 2 should expect nothing else than a watered-down re-thread of the first film. It’s in the nature of comedy sequels to play it safe and keep doing the same, so it’s not surprising to find out that this sequel does exactly that. Once again, the chemistry between Ice Cube and Kevin Hart remains the best reason to see the film, with much of the humour stemming from their respective characters interacting. Otherwise, it’s the kind of cop-comedy made countless times before—including the Miami locale. Even acknowledging this built-in tendency, Ride Along 2 is not particularly well executed: the set pieces are routine, the plot isn’t that intriguing and the film doesn’t have as much in store for surprises. Perfunctory and barely meeting expectations to the point of not warranting any extended discussion, Ride Along 2 will go the way of most comedy sequels: forgetfulness, followed by endless bundling with the first film in DVD collections.

  • The Wedding Ringer (2015)

    The Wedding Ringer (2015)

    ByChristian Sauvé Movie Review

    (On Cable TV, October 2015)  I remain astonished at Kevin Hart’s gift in consistently transforming what would be an obnoxious persona into solid comedy gold.  In The Wedding Ringer, for instance, he takes up a hustler role specializing in grand-scale deception and somehow makes it funny.  The basic plot has something to do with faking best men for a groom without much of a social life, but the real point of the film are the comic set-pieces, the characters, and seeing Kevin Hart speak as fast as possible.  It shouldn’t work (and, at times, it doesn’t) but Hart is at his best and manages to elevate the rest of the material.  Compared to him, most other actors are a bit dull, including Josh Gad as the nominal lead of the story.  Some plot points are fuzzy (such as the overheard conversation that crystallizes the film’s ending, which barely makes sense) but the set-pieces are fun.  There isn’t much more to say about the film: It’s fun, hits more or less the right spot for anyone expecting that kind of comedy and it even pays itself a short homage to The Usual Suspects.  That could have gone much worse. 

  • Grudge Match (2013)

    Grudge Match (2013)

    ByChristian Sauvé Movie Review

    (On Cable TV, August 2015) Grudge Match isn’t an unofficial remake of Rocky Balboa, but is sure does feel like it at times, as a retired boxer played by Sylvester Stallone takes up the gloves once again to face an old rival.  But while Rocky 6 tried hard to keep up the serious underdog tone of its series, Grudge Match thankfully seems willing to let the natural comedy in its premise run free.  Or so it seems for a while, it bits and pieces –because far too often, Grudge Match lets go of its comic premise and muddles down in emotional sequences that take away from its strengths.  It doesn’t help that the film is deeply conventional – it’s not so bad when the characters are exchanging barbs or indulging in easy physical comedy, but when Grudge Match gets serious, it also gets dull.  Still, there is considerable entertainment in seeing Robert de Niro take up old glories (although this does nothing to calm critics claiming that his twenty-first century output so far has been almost entirely riffing on his previous career), and Stallone arguably plays a better take on his Rocky Balboa character.  Alan Arkin once again plays crusty-old-guy better than anyone else, much as Kevin Hart can somehow remain a non-obnoxious motor-mouth.  It’s also good to see Kim Basinger again in a substantial role.  The laughs rescue the film from rote emotional familiarity –there is, in particular, a single-shot silent gag involving a bridge, jogger, a scooter and careful composition.  Still, Grudge Match is pretty good entertainment, especially for anyone in the mood for a solid way to pass the evening.

  • Get Hard (2015)

    Get Hard (2015)

    ByChristian Sauvé Movie Review

    (Video on Demand, July 2015) There is something almost irresistibly promising about the premise at the core of Get Hard: What if a privileged naïf, framed for white-collar crime, had to ask for help in facing being locked-up?  What if the tough-black-guy asked for help was just as innocent as the convicted man?  Give the two main roles to Will Ferrell and Kevin Hart and you can almost imagine the film itself.  There’s even some room for social commentary, populist rage and racial-divide commentary.  But what do we actually get in Get Hard?  Alas: Racist, homophobic and just plain mean humor.  While a little bit can go a long way, the film is wearying in is near-constant carpet-bombing of the same jokes, repeated without much variation.  Rape isn’t funny, and neither is specifically homosexual prison rape, so it’s distressing to see the film reach for the same joke every five minutes or so, even in watered-down forms that look a lot like plain homophobia.  Much of the same can be said about the film’s lazy approach to racial stereotyping –setting a sequence inside a white supremacist headquarters can’t hid the fact the Get Hard doesn’t allow for much racial nuance in how it portrays its non-leading characters, and that the seemingly unconscious racism is used as a crutch instead of wittier material.  While Ferrell and Hart are adequate in their roles, they’re not fed very interesting material and the result feels like a waste of two talented comedians; at best, they rescue a script that would have led to a disaster in the hands of less likable performers.  While not entirely unfunny (thrown enough jokes at the screen and a few are bound to stick), Get Hard feels more juvenile than funny and while you may laugh once or twice, you may not necessarily like yourself for doing so.

  • About Last Night (2014)

    About Last Night (2014)

    ByChristian Sauvé Movie Review

    (On Cable TV, March 2015)  I wasn’t expecting much from this low-profile romantic comedy (a remake of a 1986 film based on a 1974 David Mamet play), but I should have suspected otherwise given that it stars the enormously likable Kevin Hart, Regina Hall, Michael Ealy and Joy Bryant.  Set in downtown Los Angeles, About Last Time details a year in the life of four young people, during which they meet, fall in love, break up, reconcile and change careers.  Almost immediately charming, it’s a film built on dialogues and performances, and all four main actors truly knock it out of the park, with particular mentions for Hart and Hall, both of whom play the uninhibited comic relief couple to the more conventional Ealy and Bryant.  (Elsewhere in the film, Paula Patton has another great but too-short turn as a romantic antagonist.)  While About Last Night isn’t particularly original, it’s slickly-made, modern, almost constantly funny and features intensely likable actors.  It’s hard to ask for much more from a romantic comedy

  • Ride Along (2014)

    Ride Along (2014)

    ByChristian Sauvé Movie Review

    (Video on Demand, December 2014)  By now, the mismatched-buddy-cop routine is old, so it’s more a matter of execution than originality of premise.  Here, Kevin Hart gets to play a diminutive motor-mouth trying to impress a grizzled police officer in order to earn his approval to marry his sister.  It’s all familiar stuff (and no one will go see Ride Along in order to make sense of its criminal subplot), but fortunately it’s sufficiently well-made to carry viewers along for the ride.  Ice Cube as a gruff cop is now practically typecasting (although there’s a pretty funny flash-cut with a Cypress Hill sting), and he plays it as well as anyone could.  Hart himself is also funny in a role that easily could have turned annoying.  The film is by-the-number (in fact, so by-the-number that you can find an admiring mention of its early script in the 2004 formula-screenwriter’s-bible Save the Cat!) but unobjectionably charming in its own mass-market sanitized way.  It may not amount to much, but it’s a decent time-waster.

  • Scary Movie 4 (2006)

    Scary Movie 4 (2006)

    ByChristian Sauvé Movie Review

    (In theaters, April 2006) Roughly similar in tone to the previous Scary Movie 3, this one is a comedy grab-bag that chiefly goes after (in decreasing order of importance) War Of The Worlds, The Grudge and The Village, with other assorted pokes and tweaks at other films (Saw, Million Dollar Baby and Brokeback Mountain) and pop-culture icons. Scary Movie 4‘s biggest problem is that it’s quite happy to pastiche other films, but seldom goes for the jugular: Movie critics had funnier jabs at War Of The Worlds during the summer of 2005 than the parody ever manages to put together. (The constantly-screaming little girl shtick isn’t even mocked.) Scary Movie 4, alas, is almost completely bloodless in its parodies: it recreates the original with some goofiness but seldom more. (This being said, the production values are often impressive, especially considering the short shooting schedule) Even the rare political gags only make us wish for much more. It’s no surprise, then, if some of the film’s cleverest moments stand completely apart from previous films. As for the actors, well Anna Faris is still cute in an increasingly irritating clueless shtick, while Craig Bierko does well with the thankless task of parodying Tom Cruise. Still, it’s Regina Hall who steals the show as the insatiable Brenda: her arrival in the movie kicks it up another notch (plus, doesn’t she look unbelievably gorgeous in founder’s-era clothing?) Yes, Scary Movie 4 will make you laugh. Dumb, cheap, easy laughs but still; consider it your reward for slogging through endless mainstream horror films.

    (Second Viewing, On Cable TV, October 2021) One of the side-benefits of my Scary Movie series marathon is a renewed appreciation of how the series is broken down into three distinct phases, and how closely related are the films of those phases. Phase one is the Wayans Brothers phase—closely following genre protocols, often very funny but just as frequently too gross or too dumb for any laughs. Phase Two, the Zucker phase, is more controlled in tone but deliberately chaotic in plot, with fewer gross-out gags but far more comic violence that quickly gets old. Scary Movie 4 is very much of a piece with its predecessor, blending together the plots of very different films in order to create a clothesline on which to hang smaller film-specific parodies. There’s an effort to go beyond simple re-creation to create a more comic tone, and the number of known names in the cast is proof enough of the budget that went into the thing. Anna Faris makes a final appearance in the series (Phase Three of the series is the Faris-less one, which doesn’t help anything) and once again bears the brunt of much of the gags, but Regina Hall sharply improves the film once she joins in mid-plot. (She does look real nice playing a nymphomaniac in 18th century garb.)  Craig Bierko does well in a role asking him to spoof Tom Cruise, while various smaller roles are held by Leslie Nielsen, Bill Pullman, a pre-stardom Kevin Hart and many others —alas, Chris Elliot is once again a laugh-inhibitor whenever he shows up on-screen. In the end, Scary Movie 4 is not a great spoof comedy, but it’s better than many others (including Scary Movie 2) and works reasonably well when the filmmakers can keep their worst tendencies in check (their fondness for hitting women and children aside, at least they don’t include an excruciatingly long door unlocking/opening sequence). It’s more or less the end of the series, though—Scary Movie 5 is a different, almost unrelated beast, and another other sharp turn lower for a series that doesn’t have a lot of room to spare before hitting the bottom of the barrel.

  • Scary Movie 3 (2003)

    Scary Movie 3 (2003)

    ByChristian Sauvé Movie Review

    (In theaters, October 2003) The good news are that most of the the overly gross moments of the first two films of the series have been removed; what remains may not be too tasteful (decapitations, paedophilia and dismemberment are featured here and there) but at least it’s more palatable than before. Veteran spoof director David Zucker overuses slapstick over more amusing silliness (witness the “seven days” exchange), but Scary Movie 3 still feels a lot more respectable for it. Alas, the bad news are that the comedic highlights of the first two films have also been filed off, with an overall result that is a lot more tepid than it should be. The film floats from one grin to another, with few belly-laughs in between. The visual and cinematographic re-creation of the parodies (Signs, The Ring, 8 Mile, etc) is irreproachable, but the film often does next to nothing with the material it’s given. Leslie Nielsen, continues to be obnoxious with his usual shtick, though I wonder how many will get the joke of his last appearance in the film. All in all, a rather mixed effort that feels somewhat lazy. Not the bottom of the barrel (and certainly a step up from the past five year’s worth of spoof comedies), but still far away from the genre’s best efforts. Catch it on TV late at night.

    (Second Viewing, On Cable TV, October 2021) No one in their right mind will call Scary Movie 3 a good movie, or even a particularly fine example of a spoof: It’s loose, frequently witless and overly fond of a specific repetitive form of physical violence comedy. But at least it’s a step up from the second film: funnier, cleverer and far more even as well. Much of this can probably be attributed to a change in writers and directors, going from the inconsistent Wayan Brothers to spoof comedy veteran David Zucker (of ZAZ fame). The pacing is slightly better, the jokes aren’t as milked dry, and the film’s comic instincts aren’t as dumbfounding as previous films in the series. On the other hand, the occasional grossness, frequent vulgarity and constant physical violence used a punchline quickly get tiresome. Still, the main plotline, lifting equally from Signs and The Ring (among other movies added for flavour), is more chaotic and interesting. Anna Faris is back in blonde, with some surprisingly big names in cameos from Charlie Sheen to Leslie Nielsen. Regina Hall disappears from the film too soon, but there are so many brief roles from various familiar faces (including an early role for Kevin Hart) that there is a lot to see anyway. Scary Movie 3 is not a great spoof, but it is watchable and doesn’t have the lengthy laugh-free, slightly repulsive moments of its predecessor. As I continue my Scary Movie five-night marathon, I’m reassured that the fourth film is (if I recall correctly) more or less of equal quality than the third one.