Nobody’s Baby

This film was aiming for the barn-wall of quirky comedies along the vein of Raising Arizona, and instead blows a watermelon-sized hole in its own feet. The only reason to see this is for Gary Oldman’s eye-raising transformation into a white-trash, no class, con man. Otherwise, ineptitude reigned both in front and behind the camera (the boom mike pops into screen twice despite proper framing). It’s a mystery to me how such a crass feature with obvious commercial appeal but little artistic merit got into Sundance, but it does serve to illustrate the difference between this festival and Telluride (which is much more selective).