Katt Williams: Woke Foke (2024) Movie Review
Taking advantage of how the Club Shay Shay interview has pushed him to be seen as a truth teller, “Katt Williams: Woke Foke” tests whether audiences are ready for the truth.
From comedy tapings to filmed performances, these TV specials give you the experience of seeing your favorite acts whenever, wherever.
Taking advantage of how the Club Shay Shay interview has pushed him to be seen as a truth teller, “Katt Williams: Woke Foke” tests whether audiences are ready for the truth.
With recently hitting 30, Taylor Tomlinson is past her quarter-life crisis, but even with great career success, she clues us into whether her personal life could catch up so she can have it all.
Dave Chappelle continues to pursue being that mischievous kid who feels validated to double down on a joke as long as he can get a laugh. But, when the jokes subside, you realize the controversy is an act, and there is depth beyond the superficial.
Masterful storyteller Trevor Noah brings the quality expected with notable accents, trying to bring a different perspective to pop culture and your usual COVID jokes.
“In Search of the Sanderson Sisters” is truly a labor of love with moments that remind you why Bette Midler is often associated with being camp.
“Welcome To Buteaupia” will remind you of when comedians got hour-long specials because it was time, and they deserved it, rather than a network just needing content.
At times, “Hot For My Name” may make you wish Esther Povitsky didn’t say no to MTV about a reality series, for her parents damn near steal what should be her moment.
“Eric Andre: Legalize Everything” is pure and utter shock value that, if your tolerance is high, your laughs might be low.
“8:46,” is Chappelle at his best – a storyteller, in the form of a wise-man, who makes you laugh enough to pay attention as he drops the knowledge you need.
In “Momma, I Made It!” Yvonne Orji makes it clear “Insecure” didn’t make her who she is, all it did was put you on to someone already hilarious.
With Tomlinson avoiding joking about blackout drunk sex, there is something refreshing about her.
From Louis C.K., to Ariana Grande, and the double standards of life, Pete Davidson “Alive In New York” shows how limiting SNL is for the comic.
In one of the few comedy tapings you may ever see with a co-writer, Leslie Jones will get a few laughs out of, but doesn’t craft what we formerly called a special.
In “The Planet Is Burning,” Ilana Glazer speaks to her people and her core audience. If that isn’t you, I can’t necessarily say she’ll win you over.
Within 19 minutes, you get a real and raw taste of who Ms. Pat is, and she makes it clear her story can’t be surmised in a short set.
With a change in one-half of the shows, and no crossing over, is the newest entry of Live In Front Of A Studio Audience as good as the first?
While it takes Chieng to warm up a little longer than it should, once he sets up the jokes for the latter half, it is all smooth sailing.
In Joke Show, Wolf reminds you, while Netflix may have canceled her show, it wasn’t because she wasn’t funny but the format didn’t work.
In the Family Reunion Christmas special, Jackée Harry guests stars, and the children are given a lesson on privilege.
There is quite a bit of growth from Haddish since She Ready, and it leads to Black Mitzvah feeling like her first true special.
Being married and a stand up comic, especially a female one, isn’t a common thing, so Iliza Shlesinger takes advantage of this to break down how strange weddings are.
While an odd choice, considering they are making a film version within the next few years, The Little Mermaid Live is acceptable but far from remarkable.
In the comical horror series, Hottieween, rapper Megan Thee Stallion taps into her love of horror and pays homage to the great Black heroines of yesteryear.
Smart & Classy, due to references like the Menendez Brothers, can either be seen as for Gen X and above, or having a bit of dated material.
Part manic stand up special, as well as reflective documentary, Jenny Slate: Stage Fright gives you both the performer and the person who had to live life to write the jokes.
Deon Cole’s Cole Hearted is the first special, in a long time, that is not only funny but quotable as hell.
As long as you like the idea of strictly hearing sex jokes for an hour, you’ll enjoy Nikki Glaser: Bangin’.
Mo Gilligan: Momentum is unlike most comedy specials you may have seen before and makes Gilligan someone you have to keep a watch on.
After a slow start, showing you why Dunham uses puppets to get a laugh, things kick into high gear in Beside Himself.
In Epilogue: The Punchline, Dave shares a few celebrity encounter stories, does Q&A with the audience and talks about a chat with a trans person named Daphne.
In “Sticks & Stones” Chappelle reaches peak “I Do Not Give A F***” as he delves into Michael Jackson, the LGBTQ community, and more.
“Whitney Cummings: Can I Touch It?” has interesting thoughts in it, but you’ll forget most of them once the sex robot is brought out.
Marina Franklin: Single Black Female is a solid hour of material from a conversational comedian who will definitely push you to check what else she has out there.
Aziz Ansari: Right Now brings us a more mature Aziz, reminiscent of Dave Chappelle’s The Bird Revelation, but still presenting the manic persona many have come to love.
Pares Ratliff: I Hate People is a new comedy special from an interesting new comic, who offers a few chuckles.
Mike Epps: Only One Mike continues Netflix line of comedy tapings which may get a few chuckles out of you, but certainly aren’t specials.
While a bit all over the place, with little in terms of an arching narrative, Devine’s high energy saves Adam DeVine: Best Time of Our Lives.
Once Sykes gets past the obligatory Trump commentary, she finds a really good groove. But does she make this feel like a special?
Live in Front of a Studio Audience: Norman Lear’s “All in the Family” and “The Jeffersons,” brings on the nostalgia and, for the most part, revives the spirit of the source material.
The overall goal of Wherever I Look is to fill in that space between the average fan and critic and advise you on what’s worth experiencing.
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