Young women eagerly carrying and then giving birth to kittens is such a bonkers idea for a movie that one might expect a sci-fi mutant cautionary tale on the order of the classic “The Fly.” But “Kitty Mammas” is an unassuming, low budget, feel good comedy and, despite its preposterous premise, a likable one. The cast is earnest and winning enough that you root for them as they turn what is basically a sketch into a see-it-to-believe-it film.
Dr. Han (Paul Sun-Hyung Lee) is a fertility doctor running a trial that impregnates young women with embryonic felines. The science is never explained, but he’s no Dr. Frankenstein. Dr. Han exudes warmth and sincerity turning what could be a sinister undertaking into something benign. He’s been ruined by, it turns out, the vindictive ex-husband (Drew Nelson) of the veterinarian (Helene Robbie) who left him after falling in love with Dr. Han. Since he can no longer practice human fertility, Dr. Han has devised an experiment.
Four women sign up, lured by the $20,000 payment which makes their participation a bit more understandable since, let’s face it, kitten adoption is a pretty easy option. The film gives ample screen time to each: there’s Sylvia (Janet Porter) who longs for a hypoallergenic cat since her overly domesticated husband (Billy MacLellan) suffers from allergies. Joan (Karthyn Kohut) is determined to go to law school despite her artist mother Sunshine (Ramona Milano) who cannot accept that her daughter prefers law over more creative pursuits. Morgan Kohan is very funny as Rose, a young cat lady of the highest order who hosts a blog for cat lovers. Maria (Vienna Hehir) is about to marry her girlfriend Jennifer (Zarrin Darnell-Martin) and prefers a kitten instead of the baby that her intrusive mother wants. The cast — including Stephanie Belding’s acerbic office assistant Pauline — delivers performances that give the characters humanity despite the silliness.
Director Dennis Alexander Nicholson, working from a script by
Katrina Nicholson, makes clever use of the “mockumentary” format perfected by “The Office” that allows the actors to room to play with the awkwardness and absurdity. There are brushes with discomfort especially Nelson’s violent stalker who threatens his ex-wife at her workplace. These scenes are more squeamish than the birthing ones — the movie goes there and, yes, delivers. But the goodnatured tone manages to keep things warm and fuzzy.
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