The summation of an implausible plot, clichéd language and substandard acting, this romantic comedy — directed by Robert Schenkman and written and produced by Caytha Jentis — is neither engaging nor comical.
Jentis has created a working, single mother (Vanessa Williams) who — after her son exhibits behavior problems — is prompted by her ego to track down the anonymous sperm donor (Kevin Daniels) she used and pin the young boy’s shortcomings on the donor’s genetics. Conveniently, she finds the father and he instantly transforms from “Ejaculator” into “Prince Charming.” However, even after activating a suspension of disbelief in order to stomach Jentis’ tale and get on with it, the audience is subjected to Williams’ and Daniels’ Acting-For-Beginners-esque performances. As a result, the pair abort the script’s romantic intensity, an element meant to be diluted with the film’s humor, another facet only provided in minute doses by Eartha Kitt, who plays the child’s grandmother.
Unlike its unattained components, the picture’s feministic umbrella — the pressures of single motherhood — is present and undeniably believable. Still however, the only love that came along during this film was mine for Kitt’s extraordinary voice.
Opens June 15
Jentis has created a working, single mother (Vanessa Williams) who — after her son exhibits behavior problems — is prompted by her ego to track down the anonymous sperm donor (Kevin Daniels) she used and pin the young boy’s shortcomings on the donor’s genetics. Conveniently, she finds the father and he instantly transforms from “Ejaculator” into “Prince Charming.” However, even after activating a suspension of disbelief in order to stomach Jentis’ tale and get on with it, the audience is subjected to Williams’ and Daniels’ Acting-For-Beginners-esque performances. As a result, the pair abort the script’s romantic intensity, an element meant to be diluted with the film’s humor, another facet only provided in minute doses by Eartha Kitt, who plays the child’s grandmother.
Unlike its unattained components, the picture’s feministic umbrella — the pressures of single motherhood — is present and undeniably believable. Still however, the only love that came along during this film was mine for Kitt’s extraordinary voice.
Opens June 15
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