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Divine Comedy: 25 Best Stand-Up Specials and Movies

From classic HBO specials to arena-comic concert flicks, these bits continue to crack us up

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For every person who's attended Kevin Hart's shows on any of his tours, there are dozens of fans who know his work and have cracked up at his 120 m.p.h. riffs simply by seeing his appearances on TV comedy specials and crazy-successful concert movies. Those who drove down to their local arena and saw the current contender for the world's most successful stand-up comic in person might check out 2011's Laugh at My Pain or 2013's Let Me Explain and think of them as souvenirs: "Hey, remember when he told that joke on stage?" But for the rest of us, this is the primary way we see Hart's act — a second-hand high that's often just as potent as sitting in the good seats.

Still, comedy specials and concert movies aren't just the next best thing to being there; nine times out of 10, they are the primary way we experience stand-up comedy overall. Those favorite bits of yours from George Carlin, Robin Williams, Louis C.K., Sarah Silverman, et al? You almost assuredly know them from seeing their HBO specials and Comedy Central half-hour showcases. There's an entire generation of comedians who weren't even born when Richard Pryor released Live in Concert who can recite his best lines and mimic every one of his gestures, just from watching that movie a gajillion times.

So we're counting down the 25 best stand-up comedy specials and concert films of all time, from the first HBO special (big up Robert Klein!) to the classic alt-comedy time capsules and today's live-from-Madison-Square-Garden multiplex hits. Get ready to laugh til it hurts.

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‘Bill Cosby, Himself’ (1983)

Yes, it's damned near impossible to watch anything the tainted comedian has done and not think of the headlines, the heckling, the revelations and what is, by any definition, monstrous behavior. But for many years, Bill Cosby's attempt to one-up Richard Pryor in the stand-up concert movie arena was considered nearly as influential as the latter's filmed Sunset Strip gig. "It's stuff that hold up," Hannibal Buress (of all people) told GQ back in 2013. "All of it is evergreen." From brilliantly re-enacting a dentist's visit to a blow-by-blow account of getting his kids to bed, Cosby's casual charm, humor and peerless grasp of the universal condition feels so potent; he made stand-up comedy (actually, sit-down comedy) seem damned near effortless. "I've been doing stand-up for 25 years," comic Ray Romano said in reference to the film. "I know all the tricks. And yet [when I watch this] I swear I feel like Bill is just telling this story for the first time, like he’s just having a conversation with you." TG

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‘Dave Chappelle: Killin’ Them Softly’ (2000)

Chappelle's special, taped in the comic’s hometown of Washington, D.C. four years before Chappelle's Show broke big, delivers everything we know now as the comedian's trademarks: shaggy-dog tales with increasingly absurd details and quick reversals; loose-limbed and playful bits that even inspired the comedian to giggle fits; blistering commentary on race couched in seemingly offhanded storytelling. Weed-dealing three-year-olds and Sesame Street pimps aside, the comic's routines about police brutality are even more painfully prescient today than they were in 2000. Whatever the matter at hand, like the man who inspired the Roberta Flack tune, Chappelle forces nothing. "Me and Chris [Rock] were joking about how Dave was just so much better than us — the thought process behind his jokes," our cover star Kevin Hart told GQ. "How he makes it look effortless… He's in a different realm. He's out of this world, man. Ridiculous." ML

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‘Eddie Murphy: Delirious’ (1983)

"Pryor's special is the best," says Chris Rock "but Eddie was the most entertaining comedian who ever lived." Released while Murphy was finishing out his run on SNL (and a year before Beverly Hills Cop made him an A-lister), this HBO special was hugely influential on a generation of stand-ups. Yes, the material occasionally devolves into crude provocation — Ed Norton fucking Ralph Cramden, for starters — and the Stone-Age homophobia is cringeworthy. But no human being has ever been as confident as the 22-year-old rising star, surely the only person who could look that comfortable prowling the stage in skintight red leather while impersonating a kid excited over an ice-cream truck or a shoe-throwing mother. Murphy settles into an act that has him singing, doing impressions (his James Brown is particularly devastating), and getting maximum value from every joke. It's all in the delivery. ST

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‘George Carlin at USC’ (1978)

"Language is one of my loves," George Carlin once said, "and I love bothering people when I am able to." He provoked in two ways on his first HBO special, first by playfully bending our perception of nonsense phrases like "hot-water heater" and "feminine-hygiene spray" with such preciseness that aspiring observers of minutiae like Jerry Seinfeld took notice. But USC's legacy is its "seven dirty words" centerpiece, a finely sculpted dissection of corporate censorship that's far less about spewing obscenities than it is about examining the ways that we as a culture police our own thoughts. Carlin's tone was impish, but underneath he's mad as hell. "He was always a beacon to me," Louis C.K. said about the late comedian at a tribute in 2010. "Onstage, I feel the courage to say what I want to say because of him." TG

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‘Louis CK: Shameless’ (2007)

During his 2007 special, Louis CK informs the crowd that married people would rather tell everyone else they're great rather than tell the truth: "My wife assassinated my sexual identity and my children are eating my dreams." It's precisely these bits of painful self-examination (and recrimination) at the heart of of CK's act that's helped turn this sad sack into an extraordinary — and extraordinarily prolific — from workaday stand-up into comedy's equivalent of a special-ops sniper. After surviving the death of the Eighties comedy boom, he found ways to connect his penchant for absurdity and a talent for poetic scatology to his life as a father and husband, and a legend was born. In confessing that his daughter is an "asshole," and his wife gives him a handjob that is "the saddest thing that’s ever happened in America," the man they call Louis let audiences see for the first time the messed up guy lurking just behind the jokes. ML

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‘Chris Rock: Bring the Pain’ (1996)

Anyone who'd seen him his early stand-up or more memorable SNL sketches knew Rock had comic chops; what most folks didn't know was that greatest stand-up of our generation has been honing an act for two years that would turn out to be a genuine gamechanger. Cracking the mic cable like a whip, the comedian prowls the stage, repeating his premises and grinning like he can't wait to land his next punch. He takes on everything from why you don't cheat on your spouse to O.J. Simpson, though the most notorious, and most deservedly revered, bit is Rock's deliberation of what he calls a civil war going on in the African-American community — "n—-s vs. black people," a piece that's still debated today. "[Rock] makes us laugh not only because of perfect writing, skewed associations and rock-steady timing but also because of pain," playwright and performer Eric Bogosian wrote in the New York Times in 1997, the year after Bring the Pain first aired. "This is the flip side of the deep anger curdling the American dream; it is anger transformed into entertainment." ML

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‘Richard Pryor: Live in Concert’ (1979)

"This is what every comic is striving for and we all fall very short," Chris Rock wrote on his website of this landmark movie. "It's the perfect concert." When comedian Patton Oswalt first saw it, he claimed it "woke up more shit in my head than most other movies I'd seen…the idea that you could see a [film]  that was just someone talking — that was new." Ecstatic, wild, profane and full of life, the hour and a half of Live in Concert is an eruption of astute observation, biting social critique, explosive physical bits and Pryor personifying everything from car tires to his heart attack. The comic dominates the stage and his audience throughout, whether confessing his drug habits and marital issues, drawing out long, gentle moments — like the one that showcases his impression of a suddenly frightened deer — or hammering home one-liners. (Such as the one regarding his dad, who died while having sex: "My father came and went at the same time.") As the first, full-length stand-up concert film, it's a milestone. As a document of Pryor firing on all pistons, it's both peerless and invaluable. ML

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