Platicsco Good story, Not enough for a whole film

Matialth Good concept, poorly executed.

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

Maleeha Vincent It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

lasttimeisaw Chilean director Sebastián Silva's Sundance premiered sixth feature NASTY BABY is an oddity in queer cinema, it ostensibly starts to tackle with a topical issue of gay couples, after homosexuality has been reckoned more or less as a normalcy in America, - parenthood, but rounds off with a shark-jumping bang. Freddy (director Silva himself) is an European immigrant, from Spain, one divines, he is a performance artist lives in New York with his black boyfriend Mo (Adebimpe, leading singer from TV on the Radio). Freddy and his bestie Polly (Wiig) are both broody: Freddy is caught up in his new project named "Nasty Baby" which involves adults imitating baby behaviours, it is absolutely nonsensical both on paper and in its eventual form, while Polly, at one point is joked by Freddy as a"semen vampire", she is not young anymore, so timing is also crucial for her whether she could ever become a mother. Naturally, they decide to having a baby together, only to their dismay that Freddy's sperm count is too low. So Freddy is egged to persuade Mo as the sperm donor, and the latter eventually caves in.Meanwhile, a mentally impaired vagrant Bishop (Cathey) lives nearby begins to wrack the trio firstly by leaf-blowing in every early morning across the street of Freddy and Mo's apartment, then physically pestering Polly several times and constantly hurling homophobic abuse at them, anyway he is cuckoo, and Silva ascertains that the aversion to Bishop is plain vicarious. Time goes by until a mood-shifting third act happens on the day when Polly phones Freddy that she is not pregnant with Mo's semen whereas the truth is otherwise, she only wants to give him a surprise later to cheer him up after knowing Freddy's Nasty Baby is cold-shouldered by the gallery owner initially shows interest but backtracks. On his way to his apartment, a tetchy and smouldering Freddy encounters Bishop again, and this time, there will be blood! The film changes its gear bluntly from a blanched mumblecore to a noirish thriller saturated with consternation and fumbles (a hallmark deer-in-the-headlight will arrive later as an over-obvious metaphor). It is a wayward move notwithstanding, but what Silva brings home to audience is the elemental homicidal urge resides in those carefree hipsters, whom we are half-heartedly rooting for until that crunch. The trio is going to become parents of a mixed race baby, but a callous truth is that not only they have no instinct to save one when they can, they also unanimously chooses the other way around, on a deceitful ground that man is a scourge, despicable and expendable, yet, he is still an egalitarian human being, when bringing a new life into this world and extinguishing an old one (assumably with the same skin color) has been juxtaposed in that fashion, it electrifies viewers to jump on that cynical old question: how can we keep our inner demon at bay and raise a child free of such contamination? That's my takeaway of this unorthodox indie fare when being steeped in the catchy closing-credits anthem: Ida Corr and Fedde Le Grand's LET ME THINK ABOUT IT. There is some food for thought left, but also one cannot help feeling being short-changed.

SnoopyStyle Freddy (Sebastián Silva) and Mo (Tunde Adebimpe) are a gay couple in NYC. They're trying to have a baby with friend Polly (Kristen Wiig). Freddy discovers that he has low sperm count. Mo is reluctant to contribute. Freddy is a performing artist making a short of adults acting like babies. The group gets harassed by local homophobic unstable Bishop (Reg E. Cathey). This is a rambling indie at first. The starts as a low-budget mumbling gay lifestyle artsy New York indie. It sprinkles in some darker tones and then it takes a completely different dark turn. It's intriguing although it doesn't completely work.

zetes Pretty lousy for the most part, though it does arrive at a compelling (if not original) conclusion. Director Sebastian Silva stars along with Tunde Adebimpe as a gay couple in New York City who are thinking about having a baby with their best friend, Kristen Wiig. Not much really happens plotwise for the first hour or so, though a conflict arises between the trio and a mentally unhinged, homophobic man who lives in their neighborhood (Reg E. Cathey). He often follows Wiig around in a threatening manner, and likes to throw homophobic slurs at Silva and Adebimpe as they walk down the street. Alia Shawkat (who co-produced! How desperate do you have to be to hit Alia Shawkat up for money?) and Mark Margolis also co-star.

visualandwriting Nasty Baby, Sebastian Silva's an independent movie presents contemporary urban drama. This film undertakes a story of homosexual partners Freddy and Mo and their female friend Polly. This trio tries to conceive a child. For men, this is a need and a disturbance in one. Freddy, an artist, to become a father creates a piece of art. A multimedia performance is imitating his and others behavior as newborns – they cry, play in front of the camera. During the process of conceiving, Freddy learns that his donation isn't as good as he, though. Mo must be a biological father, but he doubts the idea of having a child. Polly is consistent and eager to be a mother, she pushes forward the prenatal test and persuades the man for the action. The more to the story unravels the more tensions rises. Not just between trio but in Silva's creative work as well. This conflict resonates in the neighborhood. Bishop, a mentally troubled neighbor, invades the space of the trio and pushes their boundaries to the edge.Silva starts his story using close-ups to revoke the parochialism of emotions between the trio. We see from the beginning the inner world of friendship, their dynamics, that is very progressive yet holds an unspoken truth. Mo and Freddy seem to be an average couple of men in their 30 ties. Understanding, communicative, loving. They share an apartment in Brooklyn. Mo is secretive, more aloof; he isn't sure if he wants a child. On the other hand, Freddy is an energetic, emotional man, more of a rover. His friendship with Polly is deep and unusual. From the first scenes, Polly seems determined and controlling. For her having a baby is natural and unquestionable. You might have the feeling that they are a couple, the drive towards each other is intense. The closeness is disturbing, personal boundaries are invisible and needs a compliment. The relation questions the urge to procreate with Mo, not willing to have a child with Polly. There is a scene; that best portrays the relationships. After a family dinner, the friends spontaneously decided to procreate a child. Freddy masturbates Mo and Polly waits on a bed, ovulating with legs over her head ready to take the donation.Freddy's inability to create a piece of art that is appreciated and his procreation potential is questionable. An art gallery owner dismiss the piece, and his life couldn't go worse, but it does. The tension between characters slowly rises and spreads to the neighborhood. The Bishop, a psychologically troubled man with his action, annoys the community. He regularly invades the space of the trio, at night he stocks them, in a day he makes noise on the street. The more story unravels the hyped his instability become. It bothers the neighbors especially the homosexual couple. His consequence and invasion take frustrated Freddy to the edge. His instability denudes the real face of the Brooklyn's trio. The tension rises and the police intervene making a proper movie climax that contradict the intentions of the charters. Puts them in a serious life threatening situation to show that one need the life create a life comes with a contempt of the others.In Silva's film core of attention is paid to the characters rather than production design or insane stunts. Nasty Baby is an intimate drama, a story of a group that is complicated and diversified. This movie is a progressive though questioning the parenthood urge and devaluate life. Silva encircles the story by grotesque thought provoking scenes, characters poor behavior to the situations. He confronts the point of view characters with their ability. Weirdness and the feeling that something off comes out through a movie. The events go smoothly supported by the actors. Kristin Wiig after watching her in numerous comedies where her workshop is limited, here she presents a more serious approach to the character, and her actors skills flourish. All performances in the film at a good level. Silva's and Mo presentation is well balanced, yet they have an adversarial approach. Dialogs are well written and up to a point. Silva's camera work observes silently and quietly the events. There is ease of the Silva's style. He uses close-ups and firm plans a lot of natural setting and natural pace of the film. Nasty Baby is a substantial artistic and contemporary drama that through a challenge to the viewer.Read more on www.visualandwrting.com