Nobody's Baby (2001 film)
|Directed by||David Seltzer|
|Produced by||Boaz Davidson
|Written by||David Seltzer|
|Edited by||Hughes Winborne|
|Distributed by||Artisan Entertainment|
In this comedy, Billy Raedeen (Skeet Ulrich) escapes the law after being convicted with his partner in crime Buford Bill (Gary Oldman). On his way to Utah, Billy rescues a baby from an auto wreck and decides to keep it though he knows next to nothing about caring for an infant. He gets help from diner waitress Shauna Louise (Radha Mitchell) and her neighbor Estelle (Mary Steenburgen). When Buford tracks Billy down, he sees the baby as a monetary potential. However, Billy and Shauna Louise have grown attached to the child and they aren't willing to give her up.
- Skeet Ulrich as Billy Raedeen
- Gary Oldman as Buford Bill
- Radha Mitchell as Shauna Louise
- Mary Steenburgen as Estelle
- Gordon Tootoosis as Dog Havasu
- Anna Gunn as Stormy
- Peter Greene as Vern
- Matthew Modine as Sonny
- Ed O'Neill as guy in car dealership
- If you were impressed watching Oldman play a congressman, wait until you see him do comedy and line dance! With terrific turns by Mary Steenburgen and Radha Mitchell, Utah scenery, hilarious dialogue, and the best joke in a film this side of Something about Mary, Nobody's Baby is a wonderfully entertaining odyssey that should bring Seltzer nothing but accolades.
Variety, reviewing the film after its January 21, 2001 premiere at Sundance, described it as "aim[ing] somewhere between Dumb and Dumber and Three Men and a Baby. The film's "witless script wrings few laughs from its retread conceits...What's most toxic, however, is having to watch these actors sweat for their paychecks. Oldman vanishes into mutton chops and Walter Brennan mannerisms, gamely making an idiot of himself, to absolutely no humorous result....Steenburgen, Greene and O'Neill are allowed to be little more than unpleasant; Matthew Modine surfaces in a nothing role. Twinkling amidst the cow pies, Ulrich clearly relishes playing dum-dum, and his disarming sweetness lends the film whatever fleeting conviction it can claim."