Momma's Man

A cinematic endurance test, tethered to a weakling character that nobody, mother included, would miss if he blundered into the bleak NYC winter night and never returned. Nice to see Richard Edson pop in; pity he had nothing to do.

I watched this movie, and my reaction was mixed. I do not enjoy this movie as much as I hoped to (maybe because this movie is a tad slow and without climax, and because it dealt with matters that I do not feel connected to) but I know that this issue does exist.

The feeling that one have grown up and have responsibilities they have to shoulder, i.e having a family and jobs and own life, but at same time feels that one is not wanting to have all that, is real. There are some people who couldn't face reality and just wanted to break and return to their older life.

This movie dealt with real issues, and it does so without having to impose onto viewers whether to accept or not that this issue happens.

The length of the movie is not too long, but viewers who cannot comprehend the issue would find this movie a bore.

In order for me to enjoy a movie, I require things like character development, plot, a beginning, and an end. This movie contained none of these things. There was absolutely no way to empathize with the lead actor. I can't even call him a protagonist since there's no reason given for his inner conflict or a viable antagonist. My wife and I were left guessing throughout the film about the reason for this guy's sudden regression. With none given, not even a subtle hint, we're left to assume that this is just a jerk abandoning his family to act like a giant baby. I understand an independent filmmaker's desire to make a movie that asks more questions than it answers, and to portray realistic dialogue and human suffering, but at what point does it cease to be a subtle drama and become a confusing mess without character development? Must a writer/director fail as an entertainer in order to succeed as an artist? I think not. I say movies can be thrilling, funny, sad, frustrating, and totally engaging without sacrificing artistic merit. In the end, the writer of a movie is a storyteller, and it's lazy film making to think one can just throw a specific emotional state on screen and call it a movie. Don't waste your time.

The problem with this film is not the acting, editing, and direction. Those are fine. The problem is the story. I found it aggravating.

A married man living in L.A. travels to New York City on business. He uses the opportunity to visit his parents in Manhattan. Reunited with his old bed, toys and comic books, this presumed mature man makes a gradual psychological descent into adolescence, reclaiming his status as momma's boy.

The whole film is taken by this slow and gently grinding descent. I simply could not connect with such a narrative. The only thing that kept me from exiting the theater were the parents, the sane side of this story. The mother is naturally happy to have her son back and be a well-meaning pain-in-the-neck while the sensible father becomes progressively more concerned with his son's infantile behavior.

This film is certain to draw radically opposite opinions. When I saw it, a number of people left after thirty minutes. Friends, associates and fans of the director gave him a standing ovation.

Ay Momma Mia! Sometimes it takes decades for an offspring to completely disconnect from his parents. This thesis is authentically depicted in the independent film "Momma's Man". Writer-Director Azazel Jacobs tale is one of wily humor but also of heartbreak, fear, sociophobia, and regression. Matt Boren stars as Mikey, a Los Angelian married to a devoted wife and also father to a newborn baby. Mikey travels to his hometown New York on a business trip, and stays with his parents which are named in the film none other than Dad & Mom; and why not? They are portrayed by none other than Azazel's real parents Ken & Flo Jacobs. In NY, Mikey does succumb to a profound case of "I am not really to be a responsible daddy" syndrome. Therefore, Mikey "scared as a" Mouse decides to elongate his stay in his parents' Big Apple loft, which is the real abode where Ken & Flo Jacobs reside and Azazel grew up in. Mikey spends his time there regressing on the past by: playing with his old toys, reading & re-exploring his past artifacts, reconnecting with an ex-girlfriend, re-bonding with his childhood loony best friend, and living the mamma's boy life (hence the film title) by getting spoon-fed by Mom. At the same time, Mikey visits "excuse city" territory in trying to explain to his awaiting wife his overextended stay with Ma & Pa. Mikey also takes a couple of pedestrian trips around New York City, but with an apparent social phobic stride. I do commend Jacobs for his experimental techniques in telling a familiar predicament to many novice family men out there, but in a more subtle context without all the verbal exploits. However, it is very tedious to integrate sheer entertainment value in Jacobs' delicate direction of his slow-moving narrative; so at sporadic times, there was too much of the same. Nevertheless, Jacobs should be climbing up the thespian ladder in many years to come due to his idiosyncratic craftsmanship. Matt Boren's performance as the conflicted Mikey was restrained but yet remarkable. Boren should not have a boring, uneventful future acting career with turns like this. And the Ma & Pa acting shop of Ken & Flo Jacobs was also a very rewarding one with their astute characterizations of Mom & Dad. But at the end of the day, and excuse me for sounding like a momma's boy for this, I wanted more cinematic treats from "Momma's Man". *** Average