SERIOUSLY. This is what the crap Hollywood still puts out?

Better Late Then Never

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Amazing worth wacthing. So good. Biased but well made with many good points.

Writer John Hughes was capable of producing brilliant films, as he proved with 'Pretty in Pink', 'Breakfast Club', 'Some Kind of Wonderful' etc. He was also however capable of churning out daft comedies like this one.It's not great unfortunately, very much in the same mould as 'Three Men and a Baby' in the sense that it thinks that men can't look after children.Michael Keaton tries his best, but this film is not a classic.

This 1983 comedy is a real gem. No matter what the one star reviews below so ignorantly say. It's definitely one of the best jobs Michael Keaton has ever done. The movie has funny written all over it. It's too bad the people down below have no sense of humor. Keaton stars as Jack Butler, a man who is laid off from his job. As soon as he is, his wife (Teri Garr) decides to go back to work and gets a great job. Poor Jack is now home dealing with all of the normal, everyday things that you usually do. He is raising the kids, doing the dishes, laundry, making dinner. He has even started to watch soaps and hang out the neighborhood ladies. Grocery shopping is a nightmare for him. The review on this page stated that the movie is sexist. Please. People make arguments over something that's not even there. Sigh. This movie has many classic scenes as well as dialogue that you can repeat over and over. The supporting cast includes a number of familiar faces: Martin Mull, Jeffrey Tambor, and Christopher Lloyd. This is a wonderful family comedy that deserves a lot more attention than it got.Funny how things have changed since then. With the poor economy and the changing gender roles in society today, it's not so uncommon to find a man staying at home with the kids. More women are working than ever before, and more than half of the married women are the breadwinners of their families. It might have been a little strange back then, but it's become more commonplace now. Who knows? Maybe someday we'll go back to these simplier times. I see a world of slightly more courtesy in their working worlds, well behaved kids, and little to no dysfunction.Overall rating: 8 out of 10.

Mr. Mom is directed by Stan Dragoti and written by John Hughes. It stars Michael Keaton, Teri Garr and Martin Mull. Music is by Lee Holdridge and cinematography by Victor J. Kemper. Plot sees Keaton as Jack Butler, who after being laid off from work, is forced to become as house husband when his wife Caroline (Garr) lands a good job with Schooner Tuna. Something he's really not cut out to do. Ah, well, look, it's obviously very eighties, and thankfully society has moved on in leaps and bounds since this film was released. But good honest comedy is just that, honest, and for those looking for a good chuckle whilst admiring the talent of a pre-Batman Keaton, Mr. Mom is a bad mood lifter. Condensed into the 90 running time are enough gags and fun sequences to fill out a 12 episode sit-com, with a pre-teen-angst trail blazing John Hughes scripting it full of quotable lines. Lines which Keaton delivers with the comic timing not befitting someone just starting out in films.The fun is mined from Jack being hopeless at basic household chores whilst badly tending the three young children at the same time. Enter scenes involving shopping, dropping the kids off at school, laundry, cooking and ironing. As his masculinity starts to wane, Jack starts too slob out and gets his kicks by watching day-time soap operas and playing cards with the neighbourhood women. This coincides with his wife Caroline (Garr adorable) advancing well at work, but paying a price for it by being away from the family home far too much. There's also the looming presence of Caroline's smarmy boss (Martin Mull delightfully sleazy) and the good time girl (Ann Jillian sexing it up) who has her eye on Jack for fun and frolics. Both of these are stereotypes, but they existed then as much as they exist now, with that, it's easy to cut Mr. Mom some slack. Supporting slots fall to Christopher Lloyd (who would re-team with Keaton for the very funny The Dream Team in 1989), Jeffrey Tambor (City Slickers), Graham Jarvis (TV Starsky & Hutch/Cagney & Lacey) and Miriam Flynn (National Lampoon's Vacation). The child actors put in pleasing turns, where they score funny points both visually and orally, and director Dragoti (The Man With One Red Shoe) directs in an unfussy natural way. Ultimately it's Keaton and Hughes' script that lifts it to better comedy heights, the latter of which also plays on some basic fears that arise in the real world. Yeah, it's not just about Jack's bumbling around the home, that John Hughes was a sharp man you know? 7/10

Michael Keaton's star was catapulted to international fame via Ron Howard's hilarious 1982 comedy "Night Shift", in which Keaton played Henry Winkler's annoying, jabber-mouthed morgue partner who just wouldn't shut up. The role won him a legion of fans and he followed the success with a spate of movies of considerably less quality. One of those was Stan Dragoti's "eighties" comedy, "Mr. Mom".The story tells a role swapping tale about new househusband Jack, who finds himself in charge of his home and three feral kids when he loses a bet with his wife. The opportunity for comedy is endless here, and Dragoti does his best to milk it dry. In doing so however, he includes several lame jokes and weak humour."Mr. Mom" has some clever sight gags which in fact make up a high percentage of the intended mirth, but the film loses its way when it begins to swing between comic styles. Slapstick, parody, black comedy and "conventional humour" all get a turn to varying effect. Most of the time Dragoti finds himself flogging a dead horse.Keaton fits the part but is unable to do a thing with it, and the support cast likewise struggle to make an impression. John Hughes' idea is light years better than his resultant script, which perhaps had too limited a scope to really set audiences rolling in the aisles.Sunday, December 4, 1994 - T.V.