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Momma's Man (2008)
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Reviews Counted:41
Fresh:37
Rotten:4
Average Rating:7.6/10
Consensus: Moody yet touching, Momma's Man successfully illustrates with elegant simplicity the struggles of a man consumed with his adolescence.
Theatrical Release:Aug 22, 2008 Limited
Synopsis: After a holiday visit with his parents, Mikey is headed to the airport to return to his wife and newborn baby. Except he doesn’t board the plane. Instead he returns to his parents’ loft in lower... After a holiday visit with his parents, Mikey is headed to the airport to return to his wife and newborn baby. Except he doesn’t board the plane. Instead he returns to his parents’ loft in lower Manhattan, back to his childhood room that has since been converted to storage. Unsure of his own motivations, he makes up excuses about why he’s staying – his flight is delayed, his flight is cancelled. A day passes, and then another, and he calls home and work to say he can’t return just yet – his parents are getting old, his parents are ill, time is too short. His doting mother is more than happy to enable his procrastination, while his artist father is suspicious. From afar, his confused wife grows increasingly unsettled. Meanwhile Mikey moves back into his room, digging out notebooks and mementos, calling on old friends. As the days go on he becomes more and more entrenched in his adolescent sanctuary, and comes to a point where he must choose between life as it is and life as it was. --© Official Site [More]
Starring: Matt Boren, Ken Jacobs, Flo Jacobs, Richard Edson
Starring: Matt Boren, Ken Jacobs, Flo Jacobs, Richard Edson, Dana Varon, Nan Arcilesi, Eleanor Hutchins, Piero Arcilesi
Director: Azazel Jacobs
Director: Azazel Jacobs
Screenwriter: Azazel Jacobs
Producer: Hunter Gray, Alex Orlovsky
Composer: Mandy Hoffman
Studio: Kino International
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Release:
May 5, 2009
Reviews for Momma's Man
The main character in Momma's Man shuffles through life like he's been poleaxed, and you may feel the same after you watch this slow-motion indie exercise about a grown-up who returns home and can't leave.
The movie is quiet and minimal in its dialogue, and it has flashes of humor and thoughtfulness. However, it’s also unbearably slow and hard to empathize with Mikey.
The production has a patient, observant tone, which almost disguises the fact that Momma's Man can't decide what kind of movie it wants to be.
This is one of the most tiresome recent examples of American independent cinema.
Within its modest docudrama style, Momma’s Man addresses universal experience as presumptuously as does a mainstream Pop epic.
This enjoyable lo-fi indie pictures an extreme example of a failure to sever the apron strings.
In his simple, minimalist way, Mr. Jacobs has fashioned the quintessential interior New York film.
For a young filmmaker whose previous movie, The GoodTimesKid, suggested he was a precocious talent, this moody, pitch-perfect ode to immaturity ironically proves he’s finally grown up.
Awkward pauses and gestures and moments of self-examination give it a rich texture. It’s a lovely work, sad and funny. A melancomedy, if you will.
The film is decidedly low-key. As such movies go, it’s enjoyable, though you might find yourself wishing Mikey would just pull himself together.
A little miracle, Azazel Jacobs' lovely story of a life lost and found tackles big issues -- love, maturity, fulfillment -- in deceptively modest fashion.
Momma's Man, in its lovingly twisted way, [is] a valentine to great parenting.
A slow albeit riveting look at a 30-year-old married man who has regressed to childhood for a while.
Much comic pathos arises from the realization that Mikey has no perspective on his parents. They are as mysterious in their idiosyncrasies as anyone's.
This simple but assured indie drama about the safety of childhood and the necessity of leaving it is particularly affecting because writer-director Azazel Jacobs draws so heavily on his own life.
Azazel Jacobs' film is an enjoyably idiosyncratic tribute to his own eccentric family, and it adopts a fascinatingly novel approach to the strange anxieties of thirtysomething men.
Azazel Jacobs’ lo-fi indie comedy unfolds slowly but with patient precision.
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