Bill Bellamy Archives – CULTURE MIX

Review: ‘House Party’ (2023), starring Jacob Latimore, Tosin Cole, Karen Obilom, D.C. Young Fly and Scott Mescudi

January 14, 2023

by Carla Hay

Jacob Latimore, LeBron James and Tosin Cole in “House Party” (Photo courtesy of Warner Bros. Pictures)

“House Party” (2023)

Directed by Calmatic

Culture Representation: Taking place in Los Angeles, the comedy film “House Party” features a predominantly African American cast of characters (with a few white people and Latinos) representing the working-class, middle-class and wealthy.

Culture Clash: In this reboot of the 1990 comedy film “House Party,” two best friends—one who’s an aspiring musician, the other who’s an aspiring party promoter—throw an illegal party at the mansion of basketball superstar LeBron James while James is away on vacation.

Culture Audience: Aside from the obvious target audience of fans of the “House Party” comedy franchise, “House Party” will appeal mainly to people who don’t mind watching silly movie remakes that make African Americans look stupid and ridiculous.

Scott Mescudi (with his back to the camera), Tosin Cole, Karen Obilom and Jacob Latimore in “House Party” (Photo courtesy of Warner Bros. Pictures)

The 2023 reboot of “House Party” is nothing but a shallow cesspool of bad jokes, mindless characters and a relentlessly dull story. The house party doesn’t get started until almost halfway through this vapid movie. The original 1990 “House Party” (written and directed by Reginald Hudlin) was by no means a masterpiece, but it was a low-budget movie that had moments of charm and genuinely hilarious comedy. This 2023 version of “House Party” is just one of many examples of a very misguided and unnecessary movie reboot that is a complete waste of time and money.

Calmatic (whose real name is Charles Kidd II) makes his feature-film directorial debut with the 2023 version of “House Party,” which uses the same concept as the original 1990 “House Party”: Two best friends experience various hijinks during a raucous house party. Jamal Olori and Stephen Glover wrote the terrible screenplay for 2023’s “House Party.”

In 1990’s “House Party” movie, which takes place in an unnamed U.S. city, best friends Christopher “Kid” Robinson Jr. (played by Christopher “Kid” Reid) and Peter “Play” Martin (played by Christopher “Play” Martin) are teenagers in high school. The basic plot is about aspiring rapper Kid sneaking out of his house to go to a house party thrown by aspiring party promoter Play, while Play’s parents are away on vacation. The two pals also have a loudmouth DJ friend, possible love interests, and a trio of bullying thugs who also factor into the story.

The 2023 version of “House Party,” which takes place in Los Angeles, uses the same template of the original “House Party” movie, except the two best friends are in their mid-20s, not underage teens. But because 2023’s “House Party” is polluted with negative stereotypes of African American men, these two clowns are supposed to be financially broke and still living with family members. The two best friends, whose names are Kevin and Damon, both have low-paying day jobs as housecleaners for a company called Windsor Prestige House Cleaning, which has a lot of wealthy people as clients.

In 2023’s “House Party,” Kevin (played by Jacob Latimore) is an aspiring R&B singer/songwriter who shares custody of his toddler daughter Destiny with an ex-girlfriend named Cher (Destiny’s mother), who is never seen in the movie. Kevin lives with his father Pops (played by Bill Bellamy) and Pops’ wife Lisa (played by Nakia Burrise), who will soon be selling the house after Pops’ planned retirement. Kevin has a good relationship with his father and stepmother, but they’ve told Kevin that he will have to find another place to live after the house is sold. Kevin needs money to find a new home and because he wants to send Destiny to an elite private school.

Kevin’s best friend Damon (played by Tosin Cole), whose name is pronounced “Duh-mawn,” is an aspiring party promoter living with his aunt Jean (played by Renata Walsh), who is a cringeworthy stereotype of an “angry black woman” in the brief time that she’s on screen. She bursts into Damon’s bedroom during the day while he’s sleeping and yells at him to wake up. And because it isn’t enough for this horrible movie to portray Damon as lazy, “House Party” depicts him as someone with bad hygiene. Jean complains about the foul body odor in Damon’s bedroom with some insults that include: “It smells like someone fucked an onion in here!”

Just like in 1990’s “House Party,” the lighter-skinned friend is portrayed as the “responsible, smarter” one who is more likely to be worried about getting in trouble, while the darker-skinned friend is the “irresponsible, dumber” one who is more likely to do reckless things that will get the two pals in trouble. It might or might not be colorism from the “House Party” filmmakers, but it sure looks like colorism to a lot of people. Even if this apparent colorism wasn’t intentional, 2023’s “House Party” has so many other problems that can’t save this movie from being a complete flop.

Kevin is confronted on the street by three thugs who are looking for Damon. The leader of this dimwitted, scowling trio is Kyle (played by Allen Maldonado), who is almost always accompanied by sidekicks Larry (played by Melvin Gregg) and Guile (played by Rotimi), who are all cartoonish because of the stupid things that they say and do in the movie. The three bullies want to rough up Damon because they think that Damon has stolen a gold chain necklace from a woman named Daisy, who is Guile’s cousin.

Kevin manages to convince Kyle, Larry and Guile that he doesn’t know anything about this alleged theft. But don’t think this will be the last time that this trio of hoodlums will appear in the movie. Viewers will later find out if Damon really did steal that gold chain necklace. It’s such an uninteresting subplot that it might as well have not been in this “House Party” remake.

Damon and Kevin were hired by Windsor Prestige Housecleaners because Kevin’s ex-girlfriend Venus Bailey (played by Karen Obilom) has some type of managerial position at the company, and she was able to use her clout to get jobs for these two slackers. When it comes to Kevin’s love life, Kevin thinks of Venus as “the one that got away,” so you know what that means: Venus is Kevin’s obvious love interest.

One day, Damon and Kevin are doing a housecleaning job at a mansion, whose owner is away on vacation. It isn’t long before they discover from snooping around the house that the mansion belongs to basketball superstar LeBron James. Damon and Kevin find a private calendar showing that the family members who live in the house are all in India for a two-week spiritual retreat.

While Kevin and Damon are snooping around the mansion, they go into a trophy/memorabilia room, where they see LeBron’s awards and possessions related to basketball, including a championship NBA ring locked in a glass case. (And it’s easy to predict what will happen to the ring and the “race against time” that ensues.) The two pals also see that LeBron has a life-sized hologram of himself in this room, with the hologram giving self-esteem-boosting pep talks.

Why is there all this LeBron James promotion in 2023’s “House Party”? James is a producer of the movie through his SpringHill Company. He also makes a cameo as himself in the movie. Considering that James was a producer and had a starring role in the awful 2021 reboot/sequel “Space Jam: A New Legacy,” maybe it’s time for him to stop making inferior remakes of movies that weren’t very good in the first place.

Not long after Kevin and Damon find out that they’re in LeBron’s mansion, Venus calls them to let them know that Kevin and Damon have been fired. Why? During a previous housecleaning job for the company, Damon and Kevin were caught smoking marijuana on the house’s surveillance video, which was sent to the company.

Kevin is desperate for money, so he comes up with the idea of charging people money to party for one night at LeBron’s mansion, with the intention to mislead the invited people into thinking that LeBron will be at the party too. At first Damon doesn’t want to do it, but he changes his mind and ends up causing more problems during the party. Before they leave LeBron’s house for the day, Kevin and Damon smoke some marijuana on the property. (“House Party” over-relies on marijuana smoking as the gag in jokes that fall very flat.)

“House Party” is so ill-conceived, viewers are supposed to believe that two complete strangers can throw this type of illegal party in a celebrity mansion and that there would be no employees of the celebrity who would find out. In fact, there are no staffers of LeBron James during the party that attracts a few hundred people, including celebrities portraying themselves. The movie never bothers to explain why this mansion doesn’t have any of the James family’s security people or other employees hired to look after it while the family is on vacation. It’s all so mind-numbingly idiotic.

The movie also expects viewers to be morons and think that this party that was marketed as being hosted by LeBron is supposed to be a “secret,” as if word of mouth doesn’t exist. In addition, people at the party are shown filming themselves or taking photos to put on their social media. And yet, there’s a scene during the party when Kevin angrily yells at Damon for revealing the “secret” party because Damon put photos of the party on social media.

One of the worst things about the 2023 version of “House Party” is that all of the characters are boring or very obnoxious. (And so are the performances by the cast members.) Damon and Kevin hire a DJ friend named Vic (played by D.C. Young Fly), who is nothing but an irritating buffoon. He’s nowhere near as funny as Martin Lawrence’s DJ character Bilal in 1990’s “House Party.”

The female characters with prominent roles in the movie are presented as dull love interests or “video vixen” types. Venus has a cousin named Mika (played by Shakira Ja’nai Paye), who’s a very superficial and materialistic party girl. Grammy-winning singer Mya portrays herself in a bland role as LeBron’s neighbor who attracts the lustful attention of Damon.

A subplot from 1990’s “House Party” that isn’t in 2023’s “House Party” is showing how white police officers constantly harass the protagonists when the protagonists aren’t doing anything wrong. It’s a social issue that could have been in a “House Party” movie of the Black Lives Matter era, but apparently this subject matter was too challenging for the filmmakers of 2023’s “House Party.” It’s probably better that 2023’s “House Party” did not have racist police harassment/abuse of African Americans as part of the movie’s story, because it’s a real-life racial problem that’s too important to be in this garbage movie.

The closest that 2023’s “House Party” comes to addressing racial issues is by having a “token” white character named Peter (played by Andrew Santino), who is a nerdy and nosy neighbor of LeBron. Peter becomes the butt of a lot of the movie’s so-called jokes because he’s supposed to be the “clueless white guy” who fails miserably at trying to appear “cool” to black people. Peter inevitably goes over to the house when he sees some of the activity going on and because his female koala named Marley has wandered over to LeBron’s property.

When Kevin and Damon answer the door, Peter is surprised to see these two strangers, who can’t get their stories straight about why they’re at LeBron’s mansion. Before Peter leaves, he tells Damon and Kevin, “By the way, Black Lives Matter.” At various times during “House Party,” the movie uses the koala (which is an obvious fake replica, not a real koala) as a weak gimmick for more unfunny jokes that get run into the ground early, such as the koala getting a contact high from marijuana smoke at the party. The visual effects in this movie are very tacky and unrealistic.

The 2023 version of “House Party” overloads on useless celebrity cameos, as if seeing these celebrities is supposed to make this junkpile movie better. Among the stars who demeaned themselves to portray themselves in this dreadful dud are Snoop Dogg, Lil Wayne, Juvenile, Tinashe, Lena Waithe, Mark Cuban, Odell Beckham Jr., Tristan Thompson and Carl Anthony Payne II. Waithe, who is an Emmy-winning screenwriter in real life, embarrasses herself by portraying a marijuana-smoking party guest who is shown brainstorming ideas for a TV series, including a show that she wants to be like “Roots,” but “in reverse,” with black people enslaving white people.

Scott Mescudi (also known as rapper Kid Cudi) has a poorly written supporting role as himself; his character is another stoned party guest. He has some of the worst lines in the movie, which makes him look like a drug-addled dolt. The 2023 version of “House Party” takes a bizarre turn with a bloody and violent subplot that looks like it’s trying to be a horror-movie parody of 1999’s “Eyes Wide Shut,” but this subplot is neither scary nor funny. Original “House Party” stars Reid and Martin (also known as rap duo Kid ‘n Play) have a very quick cameo in this gruesome part of the movie.

The release of the 2023 version of “House Party” was delayed several times—an obvious indication that Warner Bros. Pictures knew that the movie was an irredeemable bomb. At one point, the movie wasn’t going to have a theatrical release and was supposed to be released directly to HBO Max. Even if people see this version of “House Party” without paying for a movie ticket, it’s still a painfully unfunny waste of time and so horrendously stupid, even the fake koala should be ashamed to be associated with this dreck.

Warner Bros. Pictures released “House Party” in U.S. cinemas on January 13, 2023.

Review: ‘This Is Stand-Up,’ starring Jerry Seinfeld, Jamie Foxx, Kevin Hart, Chris Rock, Sarah Silverman, Sebastian Maniscalco and D.L. Hughley

April 13, 2020

by Carla Hay

“This Is Stand-Up”

Directed by Paul Toogood and Lloyd Stanton

Culture Representation: This documentary is a compilation of interviews, performances and off-stage footage of a racially diverse group (white, African American, Latino and Asian) of well-known, mostly American stand-up comedians.

Culture Clash: The general consensus in the documentary is that being a professional stand-up comedian goes against what most people consider as having a “normal life.”

Culture Audience: “This Is Stand-Up” will appeal primarily to people who are stand-up comedy fans, even though the documentary ignores many problems (such as sexism, joke stealing and monetary rip-offs) in the business side of stand-up comedy.

Garry Shandling in “This Is Stand-Up” (Photo courtesy of Comedy Central)

“This Is Stand-Up” is kind of like the documentary equivalent of speed-dating. The movie packs in many famous stand-up comedians, who deliver a lot of personality soundbites, but ultimately there’s not a lot of depth or anything new that’s revealed for people who already know about the stand-up comedy world. Although a few of the comedians talk about their personal struggles, most just share anecdotes and advice, and the documentary doesn’t acknowledge the sexist and cutthroat side of the business.

Filmed over five years, “This Is Stand-Up” (directed by Paul Toogood and Lloyd Stanton) has a “who’s who” of stand-up comedians (almost all American) who are interviewed in the documentary. They include Judd Apatow, David A. Arnold, Dave Attell, Maria Bamford, Bill Bellamy, Gina Brillon, Cocoa Brown, Cedric The Entertainer, Tommy Davidson, Mike Epps, Jamie Foxx, Gilbert Gottfried, Eddie Griffin, Tiffany Haddish, Kevin Hart, D. L. Hughley, Mia Jackson, Jim Jefferies, Jessica Kirson, Bert Kreischer, Bobby Lee, Carol Leifer, George Lopez, Sebastian Maniscalco, Jay Mohr, Jim Norton, Rick Overton, Paul Provenza, Chris Rock, Bob Saget, Amy Schumer, Jerry Seinfeld, Garry Shandling, Sarah Silverman, Owen Smith, Kira Soltanovich, Beth Stelling, Taylor Tomlinson, Theo Von and Keenen Ivory Wayans. (Noticeably missing: Dave Chappelle.)

Toogood and Lloyd are Brits who previously directed the documentary “Dying Laughing,” which had a limited theatrical release in 2017. “Dying Laughing” was an interview-only film about stand-up comedians, and featured many of the same people as in “This Is Stand-Up,” such as Seinfeld, Hart, Silverman, Rock, Shandling, Schumer and Cedric The Entertainer. “Dying Laughing” also had more international representation, since it included comedians from Canada (such as Russell Peters), the United Kingdom (Billy Connolly) and Australia (Jim Jeffries). In “This Is Stand-Up,” Jeffries is the only non-American comedian interviewed in the movie. British comedian Ricky Gervais is shown as a guest on Norton’s SiriusXM radio show, but he’s not interviewed specifically for this movie.

Although it’s important for the documentary to include on-stage footage of the comedians, the best parts of the movie are when the comedians are shown off-stage. Stand-up comedy routines on stage can easily be accessed on the Internet, so “This Is Stand-Up” shines when it has exclusive footage of what the comedians are like in their homes or backstage. Mohr, Tomlinson and Kresicher are among those interviewed in their homes, while some of the memorable tour footage includes Maniscalco and the “Kings of Comedy” team of Hughley, Lopez, Cedric The Entertainer and Eddie Griffin.

“This Is Stand-Up” is also a good introduction to hear some origin stories from famous comedians if you’ve never heard before how they got interested in doing stand-up comedy. (Die-hard fans of these comedians probably know these stories already, but the documentary assumes not everyone will know about these comedians’ backgrounds.) Silverman says, “When I was 3 years old, my dad taught me to swear, and he thought that was hilarious. I got crazy with power over that. I got addicted to that feeling.”

Schumer says her first introduction to performing in front of an audience and getting laughs was when she was in school plays—but she was getting laughed at for the wrong reasons. It made her angry until a teacher pointed out to her that people laughing at her performance is a good thing because laughter makes people happy.

Foxx remembers being the type of kid who was always mouthing off in class. Instead of sending him to the principal’s office, one of his teachers set aside time in class for Foxx to tell stories. According to Foxx, it was such a hit that other teachers would visit the classroom to watch him perform.

Maniscalco says that he was the opposite of the class clown. He describes himself as a shy and quiet kid who preferred to observe people. And for Rock, his first inclination to perform on stage was inspired by his grandfather, who was a reverend for their family’s church. Rock says that he saw how his grandfather was the center of attention, and it was the kind of attention that Rock wanted too.

In fact, almost all of the comedians in the documentary say in one way or another that being the center of attention is their main motivation for doing stand-up comedy, despite it being a very emotionally demanding way to make a living. Lopez comments, “What I like about comedy is that it’s given me a great life. And now, I know I’m important.”

However, it’s not a revelation that comedians are very insecure in their real lives. Most have openly admitted to being insecure and/or emotionally damaged. And many have even used their insecurities as the basis of their on-stage personas. It’s also clear from watching this documentary that most of the comedians use comedy as a way to fill a deep emotional void to make themselves feel wanted in this world.

Von (who first came to national prominence in the 2000s as a star of the MTV reality show “Road Rules”) is one of the comedians in the documentary who is followed on tour, instead of just doing an in-studio interview. He talks about his financially deprived background and unhappy childhood, which are the foundation for much of the material in his stand-up act. But he also opens up by saying that part of his motivation for doing stand-up comedy is so his mother will approve, since he says he’s never seen her laugh.

The problem with how the filmmakers deal with these stories and anecdotes is that there’s no outside verification. The documentary does not interview anyone who knew these comedians “way back when” or even people who helped give these comedians their big breaks. Everything in the film exists in the vacuum of what the comedians want to say, without including hardly any other perspectives.

One of the exceptions is when the documentary goes to the home of Kreischer and shows some of his life with his wife and two young daughters, who are all interviewed on camera. He gets visibly uncomfortable when his daughters admit that they don’t like it when he’s away on tour. Family members of the other comedians are not interviewed in this documentary.

The nature of stand-up comedy is for comedians to often exaggerate about their lives in order to be funny. “This Is Stand-Up” takes everything that these comedians say at face value and doesn’t dig much deeper. For example, several of the comedians, such as Hart and Bellamy, talk about the importance for comedians to find their unique voices and identities, but the movie doesn’t give examples of how these comedians have evolved.

Hart says, “It takes a little time to develop who you are or who you want to be. I was definitely guilty of that in the beginning of my career. I didn’t have a voice. I didn’t know I could be myself.” That’s all well and good, but if we’re being honest, that’s pretty generic and vague advice.

The comedians talk a lot about how honing the craft of stand-up comedy involves a lot of practice at open-mic nights for little to no money. And getting to the level of headlining a show can sometimes take years. Comedians such as Seinfeld don’t believe there should be any shortcuts to stand-up comedy fame—people have to pay their dues on stage in front of live audiences, not in front of a mirror or on a YouTube channel.

There’s also an entire segment of the documentary devoted to how to deal with heckling and bombing on stage. Shandling talks about once being so paralyzed with humiliation after bombing from a show that he stayed in a car and couldn’t move for about 15 minutes. Rock’s advice for comedians is to resist the inclination to talk faster when being heckled and instead to slow down and take back control.

However, there’s no mention in the documentary about all the sleazy things that comedians encounter on the way to the top—the rip-offs, the unscrupulous managers/agents, or even the difficulty in getting managers or agents in the first place. And because there’s a limited number of comedy clubs in any given big city, it’s a very insular network where the venue owners and concert promoters have a lot of control.

The documentary includes a diverse mix of comedians, yet doesn’t mention a big problem in stand-up comedy: sexism against women. And the movie has an unrealistic portrayal of stand-up comedians as this “we all support each other” community. (The movie uses “The Kings of Comedy” tour as an example.)

Although there can sometimes be camaraderie among comedians, the reality is that stand-up comedy is and can be very cutthroat. This documentary doesn’t even mention the widespread problem of comedians stealing each other’s jokes. And this documentary completely ignores the bitter rivalries that happen in stand-up comedy.

Seinfeld, one of the highest-paid stand-up comedians of all time, echoes what many of the comedians say in the film: Preparing a stand-up comedy show is a lot harder than people think it is. He says, “I adore the rigorous difficulty of creating and preparing a joke.”

He also says that there are four levels of comedy: (1) Making your friends laugh; (2) Making strangers laugh; (3) Making strangers laugh and getting paid for it; and (4) Making strangers laugh, getting paid for it, and then having them talk like you after seeing your show.

The documentary also covers the issues of social commentary in stand-up comedy and “how far is too far.” When asked if any topic is off-limits in stand-up comedy, there’s a montage of comedians who say “no.” Hughley says, “I’ll never apologize for telling a joke.”

Griffin adds, “It’s always comedy’s job to speak knowledge to power about what people are upset about, because comedy has always been about the people.” He compares stand-up comedians to being the modern equivalents of court jesters.

Silverman (who’s no stranger to controversy) comments on how smartphones and social media have impacted stand-up comedy: “It’s especially daunting now, because people are recording with their stupid phones and posting stuff. There’s more at stake to failing than just in the safe walls of a comedy club. That said, you have to not care.”

Although “This Is Stand-Up” fails to address the predatory side of the business (maybe that’s why managers, agents, promoters and venue owners weren’t interviewed), at least the documentary does include the reality that stand-up comedy takes a toll on comedians’ personal lives. Depression, divorce and substance abuse are common with stand-up comedians, as these problems are in many professions that require frequent traveling. But they’re especially toxic for comedians, who are more inclined to be insecure than most other people.

Brillon comments on what stand-up comedians experience in their personal lives: “Relationships suffer—not just romantic relationships, but family relationships, because stand-up becomes the longest relationship in your life—and the most abusive. And you still love it and go back to it.”

Mohr, who’s been very open about his struggles with mental illness and drug addiction, says that for him, stand-up comedy is his greatest love and biggest addiction. Even if he wanted to stop, he says, he’s compelled to keep going: “To be a stand-up comic, you have to be completely unreasonable, unwell and unhinged.”

Haddish explains why stand-up comedians are driven to do what they do: “When you’re on stage, it’s like being next to God … Comedy is the most fantastic medicine you can imagine, not just for the audience, but for the comedian.”

“This Is Stand-Up” might not be very revealing about a lot of showbiz realities, since documentaries and biographies about several famous comedians have already uncovered the dark sides to stand-up comedy. This documentary is, as Toogood describes it in a Comedy Central press release, “a love letter” to stand-up comedians—at least the ones who are famous enough to be in this film. If you want some in-depth insight into on all the sleaze and heartaches these comedians had to go through to get to where they are now, then you’ll have to look elsewhere for those real stories.

Comedy Central premiered “This Is Stand-Up” on April 12, 2020.