Top Five

I knew he could do it,

And what's cool is that he shows some depth I knew he was capable of, but never saw him do. I think CB4 was the last funny Chris Rock move, and that's saying something, cause it was not really that funny.

But finally, Chris Rock writes, directs, and producers his own star vehicle that fully lives up to the comedy spectacular that is Chris Rock.

He gets it right with a satire about being a funny man, turned actor who after finding success, fears going back to comedy because he's fears not being funny, but finds a spark in a Times writer who follows him around all day to get to know the man behind the fame.

Although, a lot of the movie is a cliché you seen plenty of times in the past, it's heighten by the fact that the filmmaker is Rock himself who's not afraid to share the comedy spotlight with his friends who make funny appearances. From the always funny Kevin Hart who held it down, to Cedric the Entertainer whose funny moment in the trailer was just a small part of his overall funny cameo, plus a few other hilarious cameos from his friends I would not want to spoil.

Overall, it was Rock's best moment on the big screen.

Eight stars while Rosario Dawson's on screen, otherwise six. Chris Rock is Andre Allen, a successful standup comic who's arrived at his "Stardust Memories" moment—he's done a couple of dumb action comedies about a crime-fighting bear and wants to redeem himself with a serious film about Haitian slave rebels that nobody wants to see. Some of the plot mechanics are a little creaky, some of the comic set pieces are just distracting (especially the gross-out foursome with Cedric and the topheavy hookers), but the two leads have great chemistry, and the scenes with the two of them just "wandering around bullshitting" (as Ethan Hawke says in "Before Midnight") are totally engaging.

The comedy sideshow stuff is hit or miss. An extended sequence with Tracy Morgan, Leslie Jones et al. as Andre's old cronies from the 'hood—maybe meant to illustrate Chris Rock's claim that he was only the tenth funniest guy on his block—mostly hits; the shtick with J.B. Smoove coming on to every plus-size woman he meets mostly misses (except when Gabourey Sidibe tells him to knock it off...). Romcom convention dictates that the two leads have a falling out that keeps Rosario out of the picture for a while, which requires a nonsensical plot twist and results in a few flat scenes near the end, but all in all it's an entertaining film.

Maybe the example of Louis CK has encouraged Chris Rock to base his character more on his own life, instead of playing, e.g., a dweeby investment banker ("I Think I Love My Wife"); as with "Louie," the NYC locations are a big part of the story. He claims that this is the "blackest" film he's made so far, but I have to say that a standup guy from Bed-Stuy who remakes an Eric Rohmer classic ("My Wife"), costars with Julie Delpy ("Two Days in New York") in a film set in Tribeca and steals from Preston Sturgess and Woody Allen is my kind of postracial auteur.

Written and Directed by Chris Rock, 'Top Five' is a hilarious romantic-comedy, filled with whip-smart observations on people, fame, identity, alcoholism (and will power). Other than Anders Holm's clichéd closeted boyfriend character (but with unique and hilarious situations), the two lead characters, Andre and Chelsea, are written quite well; they're unique and interesting, and the spark between them is undeniable. Even the supporting characters have fascinating personalities and dialogues. So basically, it's Chris Rock's writing (which is as good as his stand-ups) which makes the movie fun to watch; the movie is semi-autobiographical, and is Rock's best role on screen.

The 'Planet of the Apes'-Martin Luther King Jr. assassination analogy was quite intriguing and hysterical. The entire scene in the hotel room with the two call girls and the other guy was really a well-written situation; quite rib-tickling. Guest appearances by Adam Sandler and Jerry Seinfeld were amusing, too.

The acting is commendable and suit the characters perfectly. Miss Dawson, with her looks and her personality, is incredible in her role. The Cinderella-element in the movie was interesting, and the climax was just perfect; you can't help but have a smile on your face.

Andre Allen (Chris Rock) is a standup comedian who became famous for a movie franchise character Hammy The Bear. He wants to stop playing Hammy and do serious roles. He tries to promote his historical drama about a Haitian revolutionary but people only want to talk about Hammy or his impending reality-TV wedding with Erica Long (Gabrielle Union). He reluctantly does an interview with New York Times reporter Chelsea Brown (Rosario Dawson) as she follows him for the day.

There are some funny moments but in general, the characters feel fake. Chris Rock never really stopped being Chris Rock except when he dives into the drinking. Rosario Dawson is lovely but I don't believe her romantic chemistry with him. I rather she be his sponsor than his girlfriend. After she reconnects with him, she needs to bring him to a meeting rather than a comedy store. When Seinfeld, Sandler and Whoopi show up, it feels like the movie is trying too hard and not terribly funny. Andre's family is funnier. There is an interesting movie here but it takes a couple of wrong steps.

Clearly a personal project for writer/director/star Chris Rock, Top Five isn't quite a comedy and isn't quite a drama. It nestles snugly, firmly into the in-between, dispensing funny little slices of life alongside serious, self-searching notes about midlife insecurity and the desire to make something more of yourself. Rock basically plays himself, a longtime comedy superstar who worries that his silly wide-appeal earlier works have trapped him in a vicious cycle of self-loathing and alcoholism. His character is grounded and real, afraid to play anything for big laughs because the pressure to meet earlier comedy heights is so crippling. For the most part, it's the story of his swift rapport and burgeoning relationship with a tailing New York Times reporter (Rosario Dawson), which clicks on all cylinders. The two work so well together, it can be enjoyable just watching them interact over the inconsequential, and that's the real draw. Don't go in expecting riotous laughs; it's funny, but also sweet, and an effective stepping stone to broader subjects.