Such humor has a long history, including performers like Moms Mabley, Richard Pryor, Dick Gregory, and George Carlin, as well as Chris Rock, Martin Lawrence, Dave Chappelle, Eddie Izzard, and Margaret Cho. As each of the four comedians takes his turn at the mic, it becomes obvious that the only thing they have in common is that they mean to push buttons and make people laugh. The film highlights these differences by maintaining a steady pace of cuts and camera movements, thus letting the performers establish and elaborate their own individual styles. Like most concert films, this one is structured as a series of performance shots intercut with shots of the crowd, here at the Charlotte Coliseum in Charlotte, North Carolina. We are more vocal, we have a tradition of call and response.
People talk to the screen and banter back and forth.
That will definitely be a part of the scene when this film comes out in the theater. The concern is part territorial, part fearful. Those who might be fretting that the kings' comedy is discriminatory or exclusive, that it speaks more clearly to one class of people than another, can ease up. They make comedy out of trouble coming from all sides. He launches into his own reggae tune, about waking up hungry and finding that the cupboard is nearly bare.