Top Five (2014) [Blu-ray]
Comedy | Romance
Pulsing with the rhythm of his greatest stand-up, Chris Rock's Top Five takes things to the next level, reveling in the high and the low, and blending a star-studded comedic romp with an irresistible romance. Top Five digs under the surface of show
business, politics, rap, and the exigencies of being black and famous today - holding it all up to the light in the way only Chris Rock can. Mingling echoes of Woody Allen and Dick Gregory with the energy of Kanye West and Jay Z, Top Five is an original
and radically new kind of American movie. Written, directed by, and starring Chris Rock, Top Five tells the story of New York City comedian-turned-film star Andre Allen, whose unexpected encounter with a journalist (Rosario Dawson) forces him to confront
the comedy career - and the past - that he's left behind.
Storyline: A comedian tries to make it as a serious actor when his reality-TV star fiancée talks him into broadcasting their wedding on her TV show.
Reviewer's Note: Reviewed by Martin Liebman, March 4, 2015 -- The life of a funny man isn't always fun and games, or so says Top Five, Writer/Director/Actor Chris Rock's film that explores how a comedian lost his edge and
regains it in an unusual way. It follows a famous man but peers deeply and darkly (and comically) behind the façade, exploring the juxtaposition of personal failure and popular rise followed by personal success that brings about popular decline. The film
weaves a pleasantly deep character exploration into a frequently raunchy film, one that's both challenging and entertaining alike but not often at the same time. It's not until Top Five edges towards its conclusion when it all begins to tie
together in a meaningful way. It's a film that wades waist deep through the muck of life but does so with a purpose; the only question is whether the end is worth the tough, messy journey necessary to reach it.
Andre Allen (Rock) is engaged to reality TV star Erica Long (Gabrielle Union), and their wedding is planned for broadcast. He was once considered the funniest man in America, a top stand-up comic and a popular movie star with a hit trilogy under his belt.
But his alcoholism brought it all down, though perhaps not quite in the way one might expect. He's now moved beyond stand-up and comedy and has set his sights set on more serious endeavors. His latest film, Uprize -- which tells the story of a
violent Haitian slave revolt -- is set to premiere. He's working promo on the radio and through phone interviews, but it seems nobody cares. They're only interested in his glory days of yesteryear. When he's asked to sit down for an interview with a
reporter from the New York Times, he hesitates but eventually agrees. He meets with Chelsea Brown (Rosario Dawson), a fellow recovering alcoholic to whom he opens up and shares the story of his career, beginning with a fall from grace in 2003 and the
consequences of sobriety on his life and career thereafter.
It takes awhile for Top Five to round into top form, at least dramatically. Its scattered open and middle weave a narrative but one that feels largely aimless, an interesting story without much of a point. The film finds firmer ground in its third
act as it all begins to gel into a more complete, more substantial picture of a man brought to the top through personal failure and brought back down through personal success. It takes a hard, honest look at why Andre stopped drinking and why he's tried
to make the transition from comedy to serious drama, and without the results he expects. The audience learns it's not about trying a new direction or a sudden need to scratch a more creative itch. It's an interesting look into a "what if" world of
celebrity that gradually morphs into a satisfying character study. The interesting contrast of failure breeding success and vice versa makes for a fascinating avenue of exploration, which the film expertly, pointedly, ofttimes humorously, and occasionally
darkly, traverses. Top Five doesn't really reach its full potential until late in the game, but it makes the otherwise scattered and, frankly, occasionally irritating first two-thirds necessary, meaningful, and suddenly contextually interesting.
The movie may be a rare example where it will work better on a second viewing, allowing the viewer to absorb every little bit and line in a greater context of what's to come rather than take it all on face value the first time, essentially yielding two
unique experiences that both add up to a satisfying final film.
Chris Rock's triple duty doesn't dilute the film. His work on either end of the camera impresses considering the relative ease and simplicity with which he tells the story on one side and the complexity through which he shapes it on the other. While his
direction is tight and easy, framing the story rather than pushing it, the performance proves substantially more multilayered and impressive. He finds a nearly constant humorous vibe, both overtly and covertly in everything from the most raunchy sex
scenes to the most intimate story-shaping exchanges with co-star Rosario Dawson. Rock maintains character throughout but shows a smart, capable evolution, even if that evolution is partly shaped through flashbacks and partly through personal rediscovery.
Still, his portrayal of a complex character proves accessible and smart, even if, again, it takes the entire movie, and arguably a second watch, to truly appreciate all of the details. Dawson is excellent in the support role as a character who is in some
ways a reflection of Rock's Andre and who has a few surprises up her sleeve, surprises which she masks remarkably well. The film additionally sees several good supporting performances from Gabrielle Union, Cedric the Entertainer, and Anders Holm of
Workaholics fame. Watch for fun cameos from Whoopi Goldberg, Adam Sandler, and Jerry Seinfeld all appearing in the same scene. A number of other familiar faces also appear throughout.
Top Five takes some time to get to the larger point, but the end proves worthy of the journey. Make no mistake, Top Five is interesting as it moves along, but it's not until it all begins to really come together that the movie finds
its footing and greater purpose. Some may find it might work better, and play somewhat differently, a second time through with the greater context in mind. Chris Rock is excellent even in triple duty, providing steady direction and a complex lead
performance. Paramount's Blu-ray release of Top Five features high end video and audio. A healthy allotment of extras are included. Recommended.
[CSW] -2.8- First let me say that I am not a big fan of comedies but I have always enjoyed and respected Chris Rock and his opinions. That said I agree with this reviewer:
Dave Chappelle once said, when referencing the public "breakdowns" of himself, Mariah Carey and Martin Lawrence, that these people aren't crazy but are actually very intelligent people at their breaking point, and that the system they're in is
what's messed up. Rock is exploring this in his new film, a very personal look at the strange relationship between media and entertainment. It's a filmic venting of how our fame-starved culture is destroying lives, one character going so far as to say,
"If it's not on camera, it doesn't exist", all the while remaining somewhat neutral on who is to blame. Unfortunately, these strong ideas are surrounded by unfocused filmmaking. So even though it's smart, and funny to boot, the end product is kinda
cluttered. Rock's longtime Woody Allen fandom is fully present here, with the consistently funny jokes brimming from the brainy dialogue and the heartfelt (if overdone) editing. To accompany him in his study of one comedian's reluctant "rise" and
much-needed "fall", is Dawson, formidable and charming as Rock's main verbal-sparring partner. Cameos abound, Rock employing nearly every "hey-that-guy" comedic actor working now. Even the much derided Sandler provides some good guffaws. With so much
positive in the philosophy, acting, screenwriting, and humor, it's a bummer Top Five isn't in my personal top five, or even top 20, of the year… But the jazz/hip-hop fusion score is a wreck, the non-sequitur break-aways are distracting and unfunny, and
the thematic focus is just a bit off. There are, luckily, enough consistent laughs that stem from a heartfelt, melancholic, and unique place to be worth a watch.
[V4.5-A4.5] MPEG-4 AVC - No D-Box.
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