Patton Oswalt's WE ALL SCREAM is another example of how this once-mighty comic voice has fallen into a predictable rut of tiresome self-depreciation and almost rote absurdist similes. A really sad bit of crowd work (in a big theater? No, Patton) just feels like a forced attempt to stay true to his roots, but when one of your bits is about a case of mistaken identity with your groundskeeper, you're really not a man of the people anymore. There are a few good bits, but at this point, it feels like the guy should just stick to voiceovers (even though I find those distractingly annoying as well).
Iliza Shlesinger's HOT FOREVER is another frustrating example of how this smart and fearless comic simply refuses to step out of her comfort zone of "elder millennial" talking about dumb dating and relationship shit. When she started discussing mating rituals like she was still in college (describing guys' disgusting bedrooms with no bedding other than a crusty sleeping bag on the bed), I gave up and tuned out. I have to assume that the last half of the show was about her recent motherhood, a topic I never need to hear a comedian discuss again. It's a shame because I really like her, but I just can't do the "men are like this / women are like this" stuff anymore.
Finally, Nick Kroll's LITTLE BIG BOY is hands down the best of the three. While mining some of the same self-deprecating ground as Patton (they both even discuss bouts with diarrhea, if that's your bag), Kroll's work feels more organic and less self-serving than Oswalt's. A bit about everyone being annoyed by their mother is the kind of stinging but hilarious insight that Patton's lacked for many years. I highly recommend at least checking out this bit (it comes in around the 40 minute mark).
Take these reviews with even more of my "it's all subjective" caveat than normal, as I really can't abide 99% of what passes for comedy. But here ya go.
Originally posted on social media, Oct. 22, 2022
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