StunnaKrypto Self-important, over-dramatic, uninspired.

Softwing Most undeservingly overhyped movie of all time??

SoftInloveRox Horrible, fascist and poorly acted

StyleSk8r At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

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.

Ana Prieto Directing and acting are definitely the strong suit of the film, the dark comedy is sharp and on point in terms of timing and rhythm. Nasty Baby looks into the lives of young artist Freddy (played by Sebastián Silva), his boyfriend (Tunde Adebimpe), his best friend (Kristen Wiig), and some of his other cool hipster buds. The trio are trying to have a baby, but end up having to deal with some darker things than baby names and homophobic families. What the film lacks in coherent storytelling it excels on being quirky and stylish, with very hip aesthetics and modern liberal themes supported by great acting. Not your typical Hollywood comedy, but a good funny film.

jadavix Sebastian Silva's Nasty Baby is a movie that features a tonal shift so abrupt you find yourself questioning the likelihood of the behaviour you are witnessing. It seems forced and unrealistic, as though the writer, director and star (all Silva) knew he had this destination in mind, but didn't really know how to get us there.He's done tonal shifts before, and much better, in Crystal Fairy, for example, which was a kind of quirky comedy until an absolutely poignant moment toward the end almost had me in tears.In Nasty Baby, the shift is handled with a plot device we've all seen before, so it feels like the movie wants to move into thriller territory without warning. Perhaps because it feels so unrealistic it's hard to take seriously as anything other than typical-for-that-genre fare. It finishes with the trio - two bearded gay men and a woman, trying to get pregnant - needing to dispose of a body. They didn't mean to kill him, but it happened in self defense. Why doesn't the Silva character call the police as soon as it happens? "He'll get deported," his boyfriend says. Is he an illegal immigrant? He must be the only one who also has a job as a trendy artist. Most illegal immigrants work for peanuts. If he is worried about deportation, why is he in such a high profile career?Nasty Baby starts like a Nicole Holofcener drama, with quirky, believable characters trying to work out with what they want for themselves and each other. Silva should have watched one of Holofcener's movies to see that that would have been enough: perhaps he thinks an abrupt tonal shift is required of him now. It doesn't look like the movie believes it either.Another thing: why on Earth is the elderly gay neighbour so efficient at disposing of corpses? He almost seems to smile when he sees the body. What is up with *that*?

Red_Identity Wow. Just... wow. I don't think I've seen more than five films in my life that take such an unpredictable, wild turn and tonal shift like this did. I had no idea what it was about, and the first hour or so was great on itself. Engaging characters, well-acted, very humane in its storytelling. What prompted the filmmakers to do what they did? Well, it helps to bring up questions of what the "everyday" person would do in that scenario. Do I buy it? Well, I don't "not buy it". I can definitely say that I didn't dislike its execution. One doesn't really know what they would do in such a scenario. Of course, everyone would like to say "I would have done the right thing!", but we just don't know. This is the troubling question that this film wants us to answer, and honestly, I think it did an amazing job of it. In real life, everything is normal, everyone can be normal... until it's not. What DOES happen when the "stuff hits the fan"? What WOULD we do? There are many different ways that the film could've posed these questions, and sure enough many other films that I've seen have posed them in different ways, but I think the unorthodox unpredictability of this really hits those points home. I think that first normal hour is needed for this reason, and why no one should read anything about this film going into it. I can totally see why it may not have worked for so many people, but I think the execution was on point. For better or worse, the filmmakers took a huge, giant risk here (like, I cannot stress enough how HUGE that risk was), and they didn't want this film to be forgotten lightly. For my money, I left it feeling like it had made me think about a lot of different things, along with being a highly intriguing, engaging film.