Sister of Mine
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Sister of Mine

Sister of Mine “Night School,” which is easy to tell apart from previous Kevin Hart movies because it takes Sister of Mine place in a school at night, is a major turning point in its star’s long and prosperous career: Barring a complete overhaul of his entire brand, this botched first draft of a bad comedy is the last time that anyone will ever catch themselves waiting for Kevin Hart to do better.

In his latest and least amusing film — which ends with an earnest speech about the value of self-improvement — Hart is just repackaging the same manic shtick that he’s driven into the ground with the likes of “The Wedding Ringer,” “Ride Along,” and “Ride Along 2: Here We Go Again,” which has another sequel on the way. Once again, he plays a motor-mouthed striver with a heart of gold, using an elastic mask of empty affect to hide that there’s nothing going on behind it. The comedian’s bag of tricks is so limited that all of his roles have become utterly indistinguishable from each other; even when he played a teenage jock who’d been transmogrified into a small adult man’s body, it somehow felt like more of the same.