by Frank Calvillo
You would be hard pressed to find two dependable character actors quite like Christopher McDonald and John Magaro. With each passing project, both men have proven themselves to be two of the most solid actors of their respective generations in countless roles which have seen them sharing the screen with many top actors and filmmakers. It was with a great thrill then that I approached the indie dramedy Don’t Worry Baby, starring both actors in what I was expecting to be a wonderful example of what the two of them could do. While the film certainly did well in providing a great showcase for both actors and their talents, it unfortunately did little else.
In Don’t Worry Baby, McDonald and Magaro play Harry and Robert Lang, an estranged father and son whose somewhat hostile relationship stems from disapproval over one another’s life choices. Harry is upset that his son is spending his life as a poor photographer, while Robert can’t stand his father’s constant philandering. When it is revealed that the two unknowingly both slept with a young woman named Sara-Beth (Dreama Walker), and that one of them may actually be the father of her young daughter, the two learn to finally confront each other.
Don’t Worry Baby should have been an indie slam dunk, and yet there’s so much about that film which simply fails to connect. The script’s jokes fall completely flat and there’s no real handle on the pacing. Meanwhile, moments of catharsis, struggle, and introspection all ring false, which proves highly disappointing given the nature of the intriguing premise. Sadly though, there’s no real sense of surprise or mystery in any of the plot twists. It’s not that the movie itself is trite or cliched, but its just that there’s no real excitement given to any one moment. There are no scenes which come alive, nor are there any instances which are remotely special or unique in a film which frankly should have been filled with them.
If there’s one glaring problem in Don’t Worry Baby which should be singled out, it’s that the characters are so incredibly poorly written. Quite honestly, there’s no one to really root for, mainly because no one is that likable — especially the two main characters. Harry, with his callous views on marriage and his chilly relationship with his son, is completely unsympathetic. Meanwhile Robert is too old to be complaining about the things he’s complaining about, making himself an uninteresting bore in the process. The only character who has anything remotely interesting to say or do is Harry’s wife Miriam (Talia Balsam). Her approach to her husband’s actions and her son’s situation is surprising and great to watch. I’ve always said that it doesn’t matter whether a character is good or bad, as long as they’re interesting and performing actions which are compelling. This film sadly has no one like that, leaving me wondering why anyone would bother to voluntarily spend time with these people.
The supporting turns from Walker and Tom Lipinski as Robert’s smart-aleck rooommate Lenny are fine, if unspectacular, while Balsam gives the film small breaths of life every time she comes on screen.
It’s a testament to how good Magaro and McDonald are as actors that they manage to rise above the continuously unengaging script. Both turn in highly credible turns which prove that the most dependable actors can turn caricatures into characters and manage to make mediocre material work to some degree. The film probably won’t be remembered for much of anything, and it really shouldn’t be. However, Don’t Worry Baby should exist as a document of how committed both actors are to their work.
Watching the two actors throughout the film, I couldn’t help but recall all the strong work they’ve put in throughout their careers. Its impossible to forget how dynamic McDonald was in Thelma and Louise, hilarious in Fatal Instinct, compelling in Harry’s Law, and charming in Chances Are. Meanwhile Magaro has more than demonstrated his ability to stand out in films which don’t always hit their marks. His sympathetic turn in Wes Craven’s My Soul to Take is wonderfully at odds with his menacing presence in Richard Kelly’s The Box and his energized desperation in The Big Short. With careers and talents such as these, it’s safe to say that these two actors probably won’t ever want for work. It would just be nice if someone would give them something better than Don’t Worry Baby.
