Firstly, I am thankful that censorship exists because otherwise, I would have used the most harsh words for this movie. Seriously what on earth were the makers and the actors thinking while making this movie? So here is what happens.
Hong Kong’s comedy scene has long thrived on absurdity, slapstick humor, and eccentric characters. HelloBabies (2014), directed by Vincent Kok, embraces these elements with a lighthearted yet chaotic approach. The film is a wild ride of family rivalry, baby fever, and comedic misadventures, featuring a star-studded ensemble that includes Raymond Wong, Eric Tsang, and Sandra Ng. While it promises an entertaining dose of humor and heartwarming moments, its execution leaves much to be desired.
The film revolves around two rival merchants, Lui Ming (Raymond Wong) and Yeung Wai (Eric Tsang), who have spent their lives competing over everything. Their latest battle? Who will become a grandfather first. Yeung Wai is set to win, as his son Alex and daughter-in-law Shan are expecting a baby. Desperate not to be outdone, Lui Ming turns to his grandnephew Scallop (Ronald Cheng) and his wife Snowy (Fiona Sit), who live comfortably off his wealth. He issues an ultimatum: they must have a baby, or he will cut off their financial support.
To ensure success, Lui hires the famous midwife Gong San (Sandra Ng), a woman of extravagant personality and extreme dedication to the task. What follows is a series of over-the-top antics as Scallop and Snowy’s lives spiral into chaos. However, amidst the madness, they rediscover their lost romantic spark, leading to a journey that is not just about fulfilling a family obligation but about rekindling love.
The film thrives on its comedic performances, especially from veteran actors like Eric Tsang and Sandra Ng, who bring high-energy absurdity to the screen. Their impeccable comedic timing ensures a steady stream of humor, even when the plot falters. Ronald Cheng and Fiona Sit also deliver amusing performances as the reluctant couple caught in the middle of a ridiculous scheme.
While Hello Babies aims for comedy, it often slips into excessive silliness, sacrificing narrative coherence for exaggerated gags. The humor, heavily reliant on slapstick and situational chaos, feels repetitive and forced at times. The characters, though energetic, lack depth, making it difficult to invest in their journey emotionally.
Additionally, the film’s gender dynamics and emphasis on producing offspring as a family duty may feel outdated. Instead of exploring meaningful themes of love, marriage, and parenthood, the story gets lost in its frenzied antics, missing an opportunity for depth.
Midway through the movie, you will question your choice and decision as to why you started watching this movie. And if you aren’t forced to watch it, then make this decision at your own risk.
Hello Babies offers moments of hilarity and a colorful showcase of Hong Kong comedy veterans, but its over-the-top execution and lack of narrative depth make it a hit-or-miss experience. Fans of exaggerated humor and slapstick might find it enjoyable, while those looking for a more structured story may be left disappointed. If you’re in the mood for an absurd, feel-good watch with no strings attached, this film might be worth a try—but don’t expect much beyond the laughs.
Final Score- [3/10]
Reviewed by - Neerja Choudhuri
Follow @NeerjaCH on Twitter
Publisher at Midgard Times