TOP FIVE Review TOP FIVE review by Josef Rodriguez. From being one of the most critically acclaimed stand-ups of the 90s to being the world’s most beloved talking zebra, Chris Rock has already forgotten more about comedy than most people will ever know. During his career he has written and directed three films, including a remake of Eric Rohmer’s “Chloe in the Afternoon.” His latest film, “Top Five,” is his funniest, smartest, and best work yet, a scathing indictment of celebrity culture and a, no pun intended, sobering look at addiction and the impact of hip-hop on race relations in the 21st century. Andre Allen (Rock) is a world-famous movie star whose comedy and hit series of buddy-cop movies – “Hammy the Bear” 1, 2, and 3 – have given him millions of dollars but no artistic integrity. And when his latest picture, a historical drama about a Haitian revolution that ended in the deaths of thousands of white aggressors, doesn’t do so well at the box office, Allen is left to consider his next career move. But when Chelsea Brown (Rosario Dawson), a smart and beautiful journalist from the New York Times, follows Allen around for the day to conduct an interview while he prepares for his wedding to reality-TV star Erica Long (Gabrielle Union). The two form an instant connection and encounter obstacles from their personal lives throughout the day, including Chelsea’s anally-fixated boyfriend, Andre’s hospitable but rowdy family members, and their growing affection for each other. If Hype Williams directed a remake of “Annie Hall” written by Louis CK, it might look something like Chris Rock’s “Top Five,” a beautifully written and composed ode to comedy and hip-hop that is performed passionately by its all-star ensemble. The cameos range from current SNL stars Jay Pharoah and Michael Che to legendary actor Ben Vereen, and nearly every popular comic from the past two decades makes an appearance at one point. To give an idea of what to expect, just know that you’ll never see Jerry Seinfeld the same way ever again. As director, Rock knows how and when to corral his actors, giving each their time to score a laugh without distracting from the core movement of the story, which actually ends up becoming one of the most well-written romantic comedies in recent memory. Toying around with chronology and never delivering a punchline in a conventional sense, “Top Five” may be the closest thing anyone has come to recreating stand-up in narrative form. And although this format, like “Annie Hall’s,” does have its disadvantages, it’s rare that Rock lets three or four minutes go by without a winning laugh that will reverberate loudly throughout any venue, even in a crowd of two. Yet, Rock never abandons his dramatic capabilities, and “Top Five” often, and successfully, balances the script’s more serious moments without ever interrupting the flow of the comedy. Scenes describing Allen’s low-point as an alcoholic are both hilarious and heartbreaking in equal measures, and Rock is able to tap into the aspect of a character that reveals their true nature in a way that’s dramatically satisfying without ever sacrificing a good joke in the process. This is true of any moment in the film where things become more dramatically or romantically inclined, and Rock’s performance is as good as his writing, as are the performances of his entire supporting cast, especially the always-satisfying Rosario Dawson, whose first real foray into comedy is something to behold. Shot beautifully by “Melancholia” DP Manuel Alberto Claro, “Top Five” also has the artistic chops to separate itself from the barrage of thoughtless comedies that are released each year. Claro is to Rock what Gordon Willis was to Woody Allen, and Rock would be advised to bring him back for any future directorial endeavors. Filmed with deep, rich tones and starkly beautiful contrast in every scene, “Top Five’s” unique digital aesthetic affirms its status as a very modern film, one that embraces the technology and culture of the 21st century in the hopes that it can offer viewers something they’ve never experienced before, cinematically. “Top Five” may be one of the first great comedies made in and about the way we live in the 21st century. Without ham-fisted gender or racial politics, “Top Five” says what it has to say with wit, skill, and a pathos that is both meticulously crafted and apparently improvisational. its comments about hip-hop already feel timeless, and its affectionate and honest portrayal of a life in comedy is one of the best ever put on-screen. If the film is any indication of what’s to come, fans and audiences alike will have to agree: this is not the last we’ve seen of Chris Rock. “Top Five” is now playing in theaters nationwide.
