It's difficult to understand whether the creators of My Baby’s Daddy really intended this film to be a comedy, when so many elements point toward it being a tragedy. Anthony Anderson is probably one of the funniest comedians making films today, and with Eddie Griffin in the cast, the film would seem to have the support of an impressive comedic lineup. And though Michael Imperioli isn't as quick on the draw as Anderson and Griffin, his casting is more of a mystery than a mistake.
But despite whatever talents these three men have in bringing their funny antics to the screen, My Baby's Daddy isn't so much a comedy fit for a feature film viewing as a movie better rented from Blockbuster video rental. Beyond the plethora of fart and poop jokes (how can one make a film that involves diapers without fart jokes?), the film's humor is definitely low-brow, but that's not always a reason to insult the filmmakers. Putting jokes up on the screen that are overworked and have lost their appeal after countless renderings in various features is so common in modern films that it will soon be standard practice in gross-out comedies.
And in describing this film, words like "cliché," "tired," and "racially offensive" come to mind when considering the level of gross-out jokes present, though again offensive humor and toilet jokes are entertaining to a certain segment of the audience. But where should the line be drawn where even that specific segment of the population realizes the low amount of creativity in the writing of a film's humor? Should it be considered acceptable to make a gross-out comedy simply because there is an audience for it and then ignore the requirements of creativity and original material?
Elements such as soundtrack, cinematography, and set decoration are competently done, though no aspect is a standout success. Since this film sits firmly in the comedic arena, the focus should have been placed on the actors, and for most of the film, it was. It's interesting to note that this film's premise and delivery might have been better served by a television presentation as a situation comedy. So many of the scenes are presented as simple vignettes of the main characters' journey from dumb boyfriends to less dumb fathers that the slapstick nature would have easily filled a standard half-hour sitcom.
Anthony Anderson is the star of this film simply because he has the funniest delivery and is always the most entertaining performer out of all the actors. In viewing a film where Anthony Anderson is in the cast, viewers should be prepared to see him steal the rug out from under all the other performers repeatedly. Even when he's not one of the lead actors, he still manages to keep the audience's eyes on his character. If you see this film, you won't have to look for the talent, as Anderson owns almost all of it.
But just think of what the actor could do if he were to be given truly outstanding comedic material? It's doubtless that a certain amount of the dialogue in this film was made up on-set while filming, but Anderson's performance proves that he can make even the lousiest jokes palatable for laughter. Entertainingly "familiar" is the wrong word to use for the jokes in this film. Sometimes all a person wants is to see dumb people do stupid things (just witness the current popularity of reality programming on television).
But, excepting that small portion of the audience that enjoys those jokes, regardless (18 to 24 year old college males), it's doubtful any other segment of the population would find enjoyment in this film. And sadly, the film carries on for almost 100 minutes, far out-staying its theatrical welcome. Though there is an element of "heart" that appears over the course of the film, the gross-out comedy and "loving father" angel is just far too odd a combination to believe. Certainly not suitable for the price of a ticket in the theater, potential viewers would do well to consider video rental, if you are at all interested in this film.
Review by Kelsey Wyatt.
| |
