Baby Boom (1987)

I gave it a 7.5 out of 10

A movie that not only functions as a solid scarefest but a razor-sharp satire.

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Baby Boom (1987) *** (out of 4) Cute, if extremely light, comedy about a workaholic yuppie (Diane Keaton) whose life turns upside down when she inherits a relative's 13-month-old daughter. Soon the working woman has other obligations, which doesn't sit too well in the business world so she's forced out into the country. It's easy to see why this comedy became such a hit and continues to gather new fans each and every year. After all, you have some funny moments, a great performance by Keaton and you've got a cute child making cute faces. The word cute is the best thing to call this film because the screenplay is rather predictable and always goes for the obvious joke but this can be overlooked simply because of how great Keaton is. I think this film is the perfect example of something not being able to work had it not been for the actor in charge. If you take Keaton out of this movie then you've got absolutely nothing because the actress is just so convincing in the part that you can't help but love her. Keaton perfectly nails the working woman she plays early on as that toughness is something you'd never question. The actress has made a career of playing strong women so it shouldn't come as any shock that she handles the part here. She's also extremely funny with her comic timing and especially the stuff early on with getting used to the baby but also later in the film as she begins to crack in the country. The supporting players are also strong with Sam Shepard playing a kind-hearted country vet, Harold Ramis as a jerk who doesn't like kids and we even get vet Pat Hingle in a nice role. A young James Spader also appears playing what he plays best and that's a snake in the grass. Charles Shyer's direction handles the material quite well and he certainly keeps the movie going at a nice pace. I think the biggest problem is the actual screenplay, which hits every single note that you'd expect it too and the ending is just something you'll see coming from a mile away. BABY BOOM is certainly flawed but Keaton's performance is so great that she makes the film worth viewing.

I had read about this film long before I ever saw it. Susan Faludi slated it in her book "Backlash" for being anti-feminist. Perhaps naively, I pretty much took her word for it.I eventually got around to seeing it because James Spader has a small role in it (during the "devious blonde yuppy" phase of his career - he really seems to have it in for yuppies). I was amazed by how completely I disagreed with Faludi.JC (Diane Keaton) is a very determined, resourceful woman. I am not sure how likely it is that she would be able to expand her business without sacrificing her quality time with her adopted daughter and new boyfriend, but I think she'll give it a good try. In my opinion, it is the career-obsessed men who are missing out.This film is saying that women can successfully combine a career and a private life. It may be corny and unrealistic (especially the method by which JC "acquires" baby Elizabeth), but Ms Keaton's character triumphs over adversity.In my opinion, that makes it a feminist film.

I am currently sitting on my couch on Christmas Eve, it's raining outside, freezing cold, and I've had a few glasses of wine. I couldn't have asked for a more relaxing atmosphere.If you ever find yourself in a similar setting and this movie comes on TV, do NOTTTTTTTTT turn it on.I tried to sit through it, but have finally had to turn it off. I never thought a movie could add so much stress to my life, but apparently it can. As if the kid crying every few minutes isn't annoying enough, Keaton can never seem to shut the hell up either. If you're not annoyed by her screaming and/or having multiple breakdowns on screen, you'll most certainly be annoyed by her inability to multitask when presented with the obstacles of a child. She's supposed to be this big shot business woman in the 80's and yet, for some reason, can't seem to find a good nanny in all of NYC to take care of the damn kid. For god sakes, 3 men and a baby worked it out - she can too.I won't begin to suggest this has been a very articulate posting, but I assure you, this movie is awfully irritating. I would strongly suggest staying clear of it.

The construction is rather obvious; the corporate wonder woman has a burden placed on her, but she is compelled to keep it. The second half mirrors the first half exactly - a boom of 'babies'.This could have been something more than a trifle, considering how the jokes were so fundamental to the way Hollywood currently makes fun of the flyover states. Note that the rejected nannies are servile, pious robots. The same idea of 'unacceptable risk' would be recycled in "Mrs. Doubtfire".The first half is pure screwball in nature. The second half seems to have nothing to do with the tone of the first half at all. The writer/director gambled on using "Funny Farm" ideas, but tried to disguise them as something new -- it was no use, Hill's movie vastly overpowers this -- this comes across as indecisive and disconnected.The 80s seem to be the decade most lampooned in movies because of the unique confluence of styles -- linebacker shoulder pads on women's outfits, bass drum beats that would knock you sideways, businesslike sex, conspicuous consumption...Hollywood never seemed to realize, never seemed to have a clue, that every joke they fired off only made fun of themselves.It shows here: the tinsel town airheads try to make fun of corporate America, but the way the movie itself was made is every bit as disingenuous and venal as the target.