NOTE: This is a reprint of my review from the Sundance Film Festival. Nasty Baby opens in theaters on October 23rd.
One has to appreciate the lengths Sebastian Silva goes to create interesting movies, even if they don't always come together as they should. A couple of years ago he was here at Sundance with a twinbill featuring Michael Cera, the drug dramedy Crystal Fairy, and the psychological thriller Magic Magic. Silva's style has always been somewhat free-flowing and loose, although to say his movies are fun would be an overstatement. There's always a dark strand beneath the surface that Silva seems anxious to explore, but usually he weaves it in better than he does in Nasty Baby, a refreshingly progressive but bipolar dramedy starring Kristen Wiig.
Silva's put himself in minor roles before but this time he proves a charming lead as Freddy, a Brooklyn artist who just wants to have a child with his African-American boyfriend, Mo (Tunde Adebimpe), using their best gal friend Polly (Wiig) as the surrogate. They make for an endearing melting pot of a trio and that the film accepts their relationship at face value without explanation is one of its best qualities. Months have gone by without Polly getting pregnant and with time running out, the only other reliable candidate is Mo, who seems unsure about the whole deal.
While the pregnancy issue is front and center, other issues are bubbling beneath the surface. Mo's family isn't totally on board with the idea, it seems, and Freddy's new art show, in which he plays an actual baby, isn't going as he expected. But more immediate is the presence of Bishop (Reg E. Cathey), the neighborhood loon who seems harmless enough at first; selling junk on the street and babbling nonsense. Soon he's running a leaf blower at all hours of the day and accosting Polly on the street. For Freddy, who already has an anger management problem, Bishop is a problem that needs to be dealt with, and how he's dealt with sparks a second-half turn that few will see coming and even fewer will understand.
Largely improvisational, the film benefits from the presence of Wiig to anchor the ensemble. She seems truly at home in the relaxed atmosphere Silva has created, and the film hums along at its own casual rhythm. Silva has a natural presence in front of the camera and he clicks with Adebimpe, who some may remember as the loyal and comforting fiance in Rachel Getting Married. While the performances remain solid throughout, including a welcome supporting turn from Mark Margolis as their wizened gay neighbor, the editing and camerawork leave a lot to be desired. Haphazardly shot and cut, minor characters appear and disappear at random, like Alia Shawkat in a wasted role as Freddy's assistant.
But man, does this thing ever turn dark. That wouldn't be so bad if it had some connection to what came before or was given more time to develop. As it stands we're left wondering what the heck the whole thing was about. The actors remain committed to their roles despite the dramatic shift but there's no getting around that it feels like a completely different movie, and not one anybody is likely to enjoy as much as the first half. It's always worthwhile to get a new project from Silva because he's a filmmaker who likes to push new boundaries, but it's a risk that didn't pay off this time.
Rating: 2.5 out of 5
