Review: Patton Oswalt’s “Finest Hour”

Get the skinny on Patton's New Album, FINEST HOUR.

Christian Krauspeby Christian Krauspe

Godd*mn, Patton Oswalt is funny. Really funny. His newest album, Finest Hour is just another reason to love his work.

Patton’s greatest strength is the ability to tell a story and fire on every comedic cylinder available to him from the framing to each hilarious iota of detail. Following his two previous great albums, Werewolves and Lollipops and My Weakness is Strong, his newest venture features the expected growth in style and ability that one would expect from such a seasoned comedian.

When we last left our hero on his previous album, he was preparing himself for the trails of fatherhood, but now with a daughter on his hands; he’s opened himself up to a new plane of material. But wait! Before you go thinking he’s going to be doing all these hack bits about being a dad, blah-blah-blah, he actually adheres to his to his patented level of cynicism and originality. Something that is rare for a lot of comedians once the kids come.

The bottom line is this:You like Patton Oswalt? Scratch that. You like comedy, at least somewhat so? There is no reason, none, you shouldn’t pick up the album. In this reviewer’s humble opinion, it’s only a matter of time his albums become a guaranteed purchase similar to young gay men’s attitudes towards the Scissor Sisters. It’s not even something you think about, you just do it.

Best bits include: “The Ham Incident,” “The Horror of New York City,” and “The Bugged Car.”