The tone of the show is much in keeping with his films, just shortened down from ninety minutes to thirty. The exact same style of filmmaking is utilized for the show, so it comes off feeling attuned to the actors that Swanberg chooses.
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The tone of the show is much in keeping with his films, just shortened down from ninety minutes to thirty. The exact same style of filmmaking is utilized for the show, so it comes off feeling attuned to the actors that Swanberg chooses.
Well, yes and no. There is something decidedly Pee-wee Herman about this film. It's an odd duck among all the other surreal and cartoonish films of the past ten years. Most of the time it's simply weird to the point of confusion and anger, but then there are these cut scenes with Joe Manganiello that make you burst out in pointed, uncomfortable laughter.
The episode often starts on a quick non-sequitur, and then the rest of the sketches flow into each other creating one connected story featuring various characters and performers. The format makes the show feel like a nineties venture, including having the live studio audience, which faded away with “Inside Amy Schumer,” “Key and Peele,” and “Kroll Show,”
I’m not sure what I was expecting out of the stand-up, but it was not the highly polished, auteur level project that was released last weekend. There’s a personal touch to this show that is unlike his specials or past roles in film and television. It’s great that Netflix proved a great platform for the performer.
In 2012, at the Largo Theater, Tig Notaro gave an impressively legendary set where she talked about her recent battle with an intestinal infection, breast cancer, a breakup, and the death of her mother, all at the urging of Ira Glass.
