Baby Mama | Christian Toto saw, Comedy | ENTERTAINMENT

Baby Mama

Baby Mama in theaters logo
Tina Fey and Amy Poehler clicked behind the faux news desk on "Saturday Night Live." So it's hardly a shock to see them reprise that chemistry in the new comedy "Baby Mama."

Baby Mama poster
The title may scream modern slang, but the story of a professional woman trying to have it all is hardly new. Good thing Fey's smart, sophisticated brand of comedy is stamped all over the film, despite her not having an official screenwriting credit. "Baby Mama" also gives Poehler her first leading role after years of side-splitting routines on "SNL," the biggest star launcher this side of "American Idol." Suffice to say it was worth the wait.

Fey stars as Kate, a driven executive who spent her youth forgoing relationships for the sake of her career. Now, at 37, she wants a baby. Badly. But her gynecologist doesn't like the look of her uterus, not one bit.

So Kate seeks out a surrogate specialist (Sigourney Weaver, never better) to help her start a family.

The specialist leads Kate to Angie (Poehler), a foul-mouthed misfit with a common-law husband (Dax Shepard) who looks as if he couldn't take care of a goldfish, let alone a pregnant woman. They all agree that Angie will carry Kate's baby, and Kate in turn will write the vulgar couple a very large check.

But Angie quickly sheds her no-good beau and starts living with Kate. The two have nothing in common, which leads to some humorous clashes hinted at in
the film's trailer (insert link to trailer here: ). But each can learn a thing or two from one another - if they don't kill each other first.

There's precious little in "Baby Mama" we haven't seen before, but writer/director Michaal McCullers makes sure nearly every scene offers a fresh comic spin on the familiar material.

The women bond during a night out on the town, a scene we've witnessed countless times before. But Fey's inspired dance moves give the sequence a jolt. The bespectacled comic used to be known more for her writing than her acting chops, but working on NBC's "30 Rock" clearly sharpened her physical skills.

Tina Fey and Amy Poehler in Baby Mama
Poehler brings a sturdier performing resume to "Baby Mama," and if her work here has a flaw it's in how inconsistent Angie's blue-collar roots prove from scene to scene.

Grand support flows from all directions, particularly via Steve Martin's turn as Kate's zen-master boss. A pony-tailed Martin rewards employees with treats like five uninterrupted minutes of eye contact with their boss. Who else could pull off such absurdity with a straight face? Let's hope Martin takes on more supporting characters rather than retreating to tired franchises like "The Pink Panther" and "Cheaper by the Dozen."

Shepard is equally strong as Angie's emotional anchor, proving you can play a dumb hayseed without gnawing the scenery. Romany Malco swipes the few scenes left as Kate's affable doorman, and Greg Kinnear exudes sex appeal as Rob, Kate's love interest.

It helps that Fey makes such an endearing dance partner. The two end one of their dates on a lustful note, with Kate proclaiming, "I'm 37 … I know how this works" while dragging Rob toward his apartment for a rendezvous.

A few gags could have been snipped, like a birthing instructor with a speech impediment and Angie's endless craving for junk food. And the film lacks that one signature scene that audiences will be talking about later in the lobby, like the infamous hair gel moment in "There's Something About Mary" or "Planes, Trains and Automobiles'" pillow sequence.

"Baby Mama" serves up smart, grounded comedy delivered by two leading ladies worthy of big screen careers.

"Baby Mama"
Universal Pictures
Three mandalas for Baby Mama
Three Donne mandalas out of five
Web site:
www.babymamamovie.net

— Christian Toto

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