Pamela Adlon, an actress who has transitioned into a director, presents a heartwarming and uproarious comedy as her debut in “Babes,” produced by Neon Films. Ilana Glazer and Josh Rabinowitz pen the film’s screenplay. Inseparable childhood friends Eden (Ilana Glazer) and Dawn (Michelle Buteau), having grown up together in NYC, are now firmly in different phases of adulthood. Every Thanksgiving, the two decide to meet for a movie, but things take a surprising turn when Dawn goes into labor.
As the story unfolds, we see Eden (Ilana Glazer) returning home after ensuring her friend’s well-being, only to stumble upon aspiring actor Claude (Stephan James). Their spontaneous and humorous one-night stand sets the stage for a significant turning point in the film. Unfazed by the consequences, the carefree and single Eden embraces motherhood alone, unaware of the challenges her best friend Dawn faces with her husband Marty (Hasan Minhaj) and two children. As the pressures of life mount, the two friends find their bond tested, leading to a series of comedic and heartwarming moments that highlight the strength of their friendship.
One thing potential viewers should know about the film is that the script, written by Ilana Glazer and Josh Rabinowitz, contains a lot of profanity. It includes graphic descriptions of sex, female anatomy, and plenty of f-bombs. However, as comedy legend Richard Pryor once said, “What I’m saying might be profane, but it’s also profound.” The film contains numerous noteworthy dialogues that reflect the writing duo’s intention to engage with contemporary motherhood themes. One particularly notable instance occurs when Dawn gently corrects Eden for referring to herself as a “Black mother,” asserting, “You are not a Black mother. You are having a Black child.” This exchange exemplifies the nuanced approach to the subject matter.
At its core, the real strength of “Babes” is the jubilation of motherhood. From a narrative standpoint, Adlon gives equal time to arcs for Eden and Dawn, with the actresses portraying them bringing their A-game. Both Ilana Glazer and Michelle Buteau have scene-stealing moments, but we never get the sense that they are trying to upstage the other, which makes the friendship all the more believable. Concurrently, the men in both women’s lives aren’t written as low-life losers, so male viewers who are girl dads or married may mind something relatable. In a too-brief cameo, Oliver Platt shows up as the father of Eden, with a mental health issue that the filmmakers tactfully handle. The always enjoyable Hasan Minhaj brings an honest tenacity to Dawn’s husband Marty, who loves being a dad but also wants some quality with his wife.
“Babes” was a delightful film; I wouldn’t mind seeing it again with my wife. My only gripe with the film is that Stephan James needs more screen time. On the one hand, his ultimate fate doesn’t go where one would think, but his character was so likable that I wanted more. Similarly, The Lucas Brothers had a scene-stealing moment where I had stitches, so I hoped they would reappear. It’s been said that “no heroism is greater than motherhood,” and with its humorous and subject-matter take on the subject, “Babes” solidifies that.
Final Grade: B+
“Babes is in theaters today.
