Mike Epps: Ready to Sell Out Story:-
If you head over to Google Images and type in “Michael Scott poker face,” you’ll get a perfect visual representation of my reaction while watching Mike Epps: Ready to Sell Out on Netflix! I mean, let me save you the trouble right off the bat: it’s painfully unfunny and, to a large extent, problematic. That Michael Scott expression sums it up perfectly – pardon the The Office reference.
Movie Ratings
| Release Date | 20 February 2024 |
| Language | English |
| Genre | Comedy, Reality |
| Director | Royale Watkins |
| Writer | Mike Epps |
| Cinematography | Matthew Matossian |
| Producer | Thomas Cobb, Kyra Robinson Epps, Niles Kirchner, Mark Ritchie, Royale Watkins |
| Certificate | 16+ |
Let me provide some context here. Years ago, I attended a stand-up comedy show. A friend of mine had invited me, intending to perform alongside many other up-and-coming comedians. Unfortunately, my friend got cold feet and never pursued stand-up. The other performers gave it their all, but the overall vibe was lackluster. Then, out of nowhere, a well-known comedian (whose name escapes me, or else I’d mention it) took the stage, and suddenly the crowd erupted with laughter. The thing was, his jokes were just as unfunny as the amateurs’ before him. Here’s a prime example: he asked someone in the audience about their job, and the person modestly replied it was a nine-to-five gig. The comedian pretended not to hear and repeated the question, twisting the response to “hate to hate” instead of nine to five, attempting to mock the individual.
I bring this up because watching Mike Epps’ comedy special evoked the same frustration I felt during that evening. I endured it only because I could console myself with the fact that it was part of my job, and I was getting paid to sit through it. My apologies if I’m coming across too harshly. Comedy is subjective, and what tickles one person’s funny bone might not do the same for someone else. However, even with that in mind, most of Mike Epps’ attempts here fall flat. The jokes miss the mark, the physical comedy feels contrived, and the impressions pale in comparison to the real deal.
Epps kicked off by discussing big girls and skinny girls. It’s understandable that he meant something other than “big,” but given that this is Netflix and a global audience will see it, he had to tread carefully. This isn’t a critique of the subject matter itself. I firmly believe there shouldn’t be any limits, especially in stand-up comedy. People should have the freedom to address anything, no matter how uncomfortable, dark, or insensitive it may seem. But it should elicit laughter, right? Otherwise, what’s the point? Unfortunately, Epps’ opening fell flat, and his subsequent attempts at humor with topics like toilet paper and men’s hygiene habits after using the restroom were painfully basic. It became tiresome to hear him harp on about the consequences (mostly itching) without adding any real comedic punch.
The situation only deteriorated with Epps’ black racism bit, where he essentially mocked black people, presumably because he himself is black and feels entitled to do so—except it wasn’t funny; it was mostly cringe-inducing. It improved slightly when he began sharing his experience of planning to join the military but failing the exams. At that point, I hoped for less laughter but more personal insights. It’s always refreshing to see people bravely open up about their inner thoughts or life experiences, so in that regard, it was a positive shift. However, Epps then proceeded to boast about never missing a child support payment and complain about spreading his genes too widely, implying that some people don’t “deserve” it. Sure, it was meant in jest, but who does Epps think he is, really?
Mike Epps: Ready to Sell Out was beyond redemption after that, and it wasn’t surprising to see Epps resorting to real events like “Will Smith slapping Chris Rock” to make his point, essentially suggesting that black women (specifically Jada Pinkett Smith) are notorious for bullying. He gleefully ranted about how men who don’t earn money are tormented by their female partners. Throughout, I kept wondering, where’s the humor?
Returning to the argument that not everything appeals to everyone, I believe Mike Epps has an audience. Otherwise, he wouldn’t have a Netflix special, which is essentially an opportunity to revitalize his somewhat stagnant film career. The only aspect I appreciated was Epps admitting that he can no longer command big bucks in movies and feels compelled to explore other avenues to stay relevant. The title of the special is fitting in that regard. Unfortunately, the topics Epps addresses to stay relevant are no longer relevant themselves. The world has moved beyond toilet humor, Donald Trump jabs, criticisms of the USA, and religious mockery. A twelve-year-old could probably come up with funnier jokes than a man of faith resorting to hiring armed security instead of relying on God, just saying!
In conclusion, Epps had a chance to end on a positive note when discussing an incident where a homophobic man was saved by his gay neighbors after sustaining serious injuries. However, he overdid it, leaving us with a sense of irritation and dissatisfaction. I didn’t intend to launch a scathing attack on someone I’ve never met, but after learning about Epps’ past mockery of autistic children in his earlier stand-up and enduring Mike Epps: Ready to Sell Out, this is the best assessment I can provide, and I stand by it.
