Infinity Baby (2017) Reviews

• Not So Black and White

  soncoman2017-04-18

  Recently screened at the 60th Annual San Francisco International Film Festival, Bob Byington's "Infinity Baby" has all the hallmarks of modern independent film – a quirky concept masking a comment on the modern human condition, crisp (black and white) cinematography, a soundtrack by some hip musician and a cast of indie stalwarts. Combined they make for a film that, at 71 minutes, actually makes you wish it had fleshed out its ideas a bit more. Set in the not-so-distant future, screenwriter Onur Tukel's quirky concept at play is that through a stem-cell research project gone bad, there are now about a thousand babies running around being "marketed" by a company (Infinity Baby) that never age and can be fed and be expected to poop just once a week. They never grow up. A ha! The same can be said for the film's protagonist Ben, an employee of the company and commitment-phobic guy who dates women just long enough to have his mother disapprove of them and then move on. A side plot involves two other employees of the company looking to make a quick buck by keeping one of the babies for a while, but things fall apart pretty quickly. The film is on "hold review" so a full critique will have to wait, but there's much to like about this film, beginning with the cast – Kieran Culkin as the man-child, Megan Mullally as his mother, Nick Offerman as the company boss (they're both Executive Producers on the film,) as well as Martin Starr, Kevin Corrigan and Stephen Root. The film looks good with cinematography by Matthias Grunsky and some retro-editing by Kris Boustedt. The film sounds good with a soundtrack by Aesop Rock. Director Bob Byington has indicated in some interviews that it might be re-edited, so perhaps its interesting premise will be expanded on in future screenings and before its eventual release. www.worstshowontheweb.com

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• Deftly made, entertaining, sometimes hilarious

  personne1062017-04-18

  I really liked Infinity Baby. After reading that it opened to uproarious laughs, I found the humor somewhat quieter than I was expecting. That said, I saw it in the afternoon on a weekday at SFIFF, so we were probably a less lubricated, tamer crowd. Kieran Culkin as Ben is great, and every woman in the cast gives a stand-out performance. One of the best tricks of the film is how we watch Trieste Kelly Dunn's character Allison through Ben's warped perspective, and then later see her personality re-framed more objectively. This is in part, thanks to Dunn's acting, though I'm sure it's also in the direction. Having seen it only once, I can't put my finger on how the shift is so palpably realized, but it's fantastic. I'm pretty sure there's no sound effect of a record screeching to a halt in the soundtrack, but that's the feeling that is captured during that scene. After an intentionally-predictable (and perfect) plot twist, the film hits its stride both in terms of humor and its hints at depth, but then it ends, sooner than you'll want it to. It makes sense that the laughs would build once we're familiar with the world of the movie, but I'm not sure the depth felt earned or explored as much as it could have been. Nick Offerman is a lovable actor, and while I love watching him as Neo, it also felt to me like he was being brandished like a secret weapon, when this movie didn't need a secret weapon. Everything and everyone around him in Infinity Baby is already strong and held more surprise. After the screening, I waited in line for the restroom and a man (whom I later confirmed was the critic for Variety) asked me skeptically, "Did you get something from that?" I said an agnostic "I did, yes." He said that the movies make him laugh a bit but don't amount to anything for him. I felt a little tongue-tied, and conveniently the restroom became available just then, so I said "I have many thoughts about this, but I'm going to go to the restroom now." The main thought I opted not to share with the critic is that my review is biased by an unwieldy crush I have on Bob Byington, whom I met by happenstance last November before I'd ever seen any of his movies.

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• A darkly absurd examination of apathy

  PopcornGrindhouse2018-04-15

  While not exactly a masterpiece, "Infinity Baby" takes on a social issue that many are too self-conscious to examine for themselves -- when does not caring stop being cool? Babies that don't age is a funny premise that initially drew me to this film. It's funny and oddly disturbing, and so is "Infinity Baby." Without spoiling what is a slow burn (despite it's tiny 80 minute runtime), I can tell you that the film is absurd and hard to piece together for the first hour or so, and takes a swift and dark turn for its climax. The characters are wonderfully scripted, and all are memorable (although some roles are much smaller than others). A stellar cast full of energetic actors delivers an overall incredible performance, all while preserving a sense of spontaneity that matches nicely with the film's black-and-white tone. Despite having a plot that seems to be on par with those of "Black Mirror," the film never loses awareness of its own quirk and is consistently funny (although in more of an Andy Kaufman way and less of a Kevin Hart way, if you get me). Those who enjoy criticism of social issues, absurdism, and who appreciate a slow-burn should definitely check out this film. While not game-changing, it's an enjoyable and brief watch.

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• A funny film

  mruoff2017-04-10

  Perhaps I saw a re-edited film. I saw this on April 4 at the WI film festival. The film was funny (and coherent). It was running short at only 70 mins and Bob Byington said he was planning on re-editing it for another showing in San Francisco. I really enjoyed the film. Lots of strong performances by well known actresses / actors. I recommend this film.

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• If I could only eat this for the rest of my life, that's OK by me

  zefrey2017-08-08

  Infinity Baby was delicious! I saw it at Traverse City Film Festival and a wave of hilarious nausea filled me as I watched Kieran make many of the hellaciously fallacious choices I have made.... sigh, to be a footloose roustabout again...OH! The cinematography had that magical feel of Antonioni, with the clean black and white lines and emotional turmoil underneath. It lent a bedrock to the madness that I found unsettling as well as comforting. And I want to spray bleach in my lover's eyes now.

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