As a comedy about aging out of your prime while still trying to impress a younger crowd, Kevin Hart’s “72 Hours” carries a certain built-in irony.

Hart stars as Joe, a high-powered New York advertising executive whose once-reliable instincts have started to feel stale. His supervisors doubt his ability to resonate with Gen Z audiences. In an effort to immerse himself in youth culture, Joe impulsively joins a bachelor party in Miami — despite barely knowing the groom. His invitation comes courtesy of an accidental addition to a group text with four guys in their twenties.

Premiering Friday on Netflix, “72 Hours” is as carefully assembled as the vodka campaigns Joe creates. Nearly every scene echoes another well-known comedy, especially “The Hangover.” Directed by Tim Story (“Ride Along,” “Barbershop”) and produced by Will Packer, the film is fully aware of its familiarity. In many ways, it pokes fun at Hart himself — now 47 — navigating a world shaped by younger, more socially attuned sensibilities.

That self-awareness makes this project a better fit for Hart than several of his previous Netflix outings. Much of the humor sparks from his exchanges with his younger co-stars, most of whom come from “Saturday Night Live”: Marcello Hernández, Ben Marshall and Kam Patterson. The lone exception is Mason Gooding, who plays Mason, the groom-to-be.

Hart often shines brightest when paired with strong comedic contrasts, whether alongside Dwayne Johnson or Conan O’Brien — the latter sharing a lanky, red-haired resemblance to Marshall. Here, the dynamic between Hart and the fresh “SNL” lineup works well. Despite his long-standing success, Hart remains willing to cast himself as the punchline. Much of the film’s humor centers on the bachelor party crew teasing the “old guy” suddenly bankrolling their Miami adventure.

With four credited screenwriters, “72 Hours” piles on plot twists to an almost absurd degree. Beyond the central premise, the story introduces a subplot involving a local drug dealer (played by Michael Mando of “Better Call Saul”) who mistakes Joe for competition. Each time Joe samples cocaine, he adopts the swaggering persona of a Cuban kingpin named Ricardo Montana — an unmistakable riff on Al Pacino’s “Scarface” character.

If that parody feels potentially risky, the movie leans into that tension. Joe’s professional troubles stem in part from a soda commercial built around a pronoun joke that misses the mark. In another moment, he pantomimes an outdated ethnic stereotype and is swiftly called out. The film lightly critiques Hart’s own brand of humor bumping up against evolving cultural standards.

Still, that meta touch doesn’t completely elevate the movie above the predictable antics typical of broad, raunchy comedies: a chaotic yacht party, a painful jellyfish encounter, and even a gag involving whale anatomy. The “SNL” cast members, however, make the most of their screen time. Hernández, who previously had a small role in “Happy Gilmore 2,” steps confidently into a larger part here. Marshall stands out even more, portraying a heartbroken recent ex whose emotional spiral threatens to turn the weekend into something resembling “Eat Pray Love.”

The film’s biggest misstep is how it sidelines Teyana Taylor. She plays Joe’s girlfriend back in New York, spending much of the story waiting for him to prove his commitment. It’s an underwhelming use of her talent, particularly following her strong showing in “One Battle After Another.” The R-rated buddy comedy, once a dependable summer staple, has largely vanished from theaters. Though “72 Hours” attempts to revive that formula on Netflix, it shows that some conventions remain stubbornly unchanged.

“72 Hours,” debuting on Netflix Friday, is rated R by the Motion Picture Association for pervasive language, sexual content, drug use and graphic nudity. Running time: 105 minutes. Two stars out of four.