Babies

Miller Rogen does a lovely job in balancing the lighter and heavier aspects of Babies.

It can sometimes feel that one vignette ends just as it begins to get interesting, but this rhythm means that the film can make its collage of characters all feel fleshed out, and the democratization of importance is a cornerstone of the movie’s thesis.

I can’t think of a better steward through the swamp of a very touchy subject than a character with the pragmatism to actually approach this life-altering decision with the attention it demands.

It almost feels as though we’re peeking in on real conversations the filmmakers have had over the course of their own lives. Where we all come down on these topics is deeply personal and likely can’t be resolved as neatly as it is here, but in one final monologue from Kendrick, everything clicks into place all the same.

While it’s easy to wish for more depth in the level of shot composition, lighting, and blocking, the cast’s infectious energy and Miller Rogen’s impassioned screenplay make Babies a must-watch for anyone who’s had a kid or is considering having one.

The bigger laughs don’t always land . . . but some of the smaller, more richly observed moments do.

The film is packed with jokes – the daughter of Annie’s friend pooping in an art museum and Aaron accidentally hitting a 14-year-old in the face, to name a few. But none of these gags actually land; many of them fall so flat that one could hear a pin drop in the theater. They’re all the same sort of jokes viewers have heard a million times before, often in other Seth Rogen movies, told and delivered much better than they are here.