Baby Cat

If you can look past the worst green screen work I've ever seen, the acting, script, nonsensical dialog , and non-story...you may enjoy this "movie" . There's a hot actress as the "cat" and that's about the only redeeming factor. If its meant to be a softcore porno, it's def not that...its more like a mishmash of scenes that make little to bo sense.

All the bad editing and sfx are soo distracting and if it was done slightly better it would make up for this.

Clearly a production with no real experience or eye for filmmaking...I would avoid this unless your having a "bad movie night" then it may be just right!

Nothing can prepare you for this movie. Nothing.

Your five year old cousin's son could operate a camera with more ability than the operator/s on this film.

The writer/director was either on drugs or undergoing rectal adjustment surgery during the process of writing and making this film.

The acting - I'm just kidding, there's no acting going on here. The cat chick is hot, that's about it.

Watching this film makes me wonder what its real purpose is because it was not made to entertain or engage an audience. It must be some kind of cover up job tax write-off thing.

Incredible. One of a kind. Unprecedented. Use this part of the review on the cover.

First I have to give credit to Natalie Cotter (Dana) and Fawn Winters (Cat). They gave their all in their roles in perhaps one of the worst movies ever made. Dana moves to LA, and works writing reports for an oil company. As an example of how bad the script it, she is stated as making reports of where to dig for oil. Oil is drilled! The office is a total joke. There is a back story of drugs, using stereotypes of mob activity. It is thrown in at random. When she opens her door, there is clearly green screen to show a balcony, except the scene jumps all over the place, and the hues change. The color hues also change in various scenes, and at least one green screen isn't even properly placed for being background. There are even place cards for scenes that are part of the movie. Some of the inserted scenes defy any logic. There is a difference between low budget and shear incompetence. This is the latter. There are movies that are so bad they are good. This one is simply bad. The two actors gave their all in their roles, so I will recognize that, and give it two stars. They aren't responsible for the incompetence.

This movie came up randomly while watching Tubi and first I didn't like it but it held my attention. The rest of the day I kept thinking about it. The scenes between the protagonist and the cat were strangely touching so I am rewatching as I write. The actress impersonating the cat does such a good job. The weirdness is on par with David Lynch's strangeness without the all-consuming darkness and focuses on human connection instead. I like that the protagonists are female and queer and how the random misogyny at her awful job highlight the disconnect in her life.

What I don't like is that the score drowns out the dialog in a lot of scenes. And how long it took to reveal the connection between the parallel plot lines.

This film will make you question your sanity.

Dana (played to perfection by Natalie Cotter) moves into her new apartment and adopts the neighborhood cat.

Except it's not an actual cat but a scantily clad young woman dressed as a cat.

Meanwhile, her job is a joke, she's broke and her love life is . . . Well, okay, her job is only a joke because her boss holds meetings with invisible employees and her co-worker doesn't try to explain it.

And then she falls in love with the cat. And it's hot sapphic passion at first but falls into the trap of ordinary couples--is there more to this relationship outside of sex? Does Lori, the cat , want to get married or have kids? The telegrams she mysteriously is able to send before having such a conversation tells very little about her feelings. But it does explain the goings on in the neighborhood.

Trust me.

There's also a drug war going on that Dana sees on the news and apparently some mysterious being is responsible for taking out the notorious drug cartels. I won't spoil that connection, but it did make me clamor for a big budget remake starring Amy Schumer and Anna Kendrick with stunt choreography by the John Wick team.

But Hollywood needs to keep their hands off this one. It's the low budget weirdness, down to the moving chroma key background that really makes this story work.

And props to a groundbreaking performance by Socks Whitmore as a transitioning non-binary person, played perfectly straight, no pun intended. Lisa London also shines as the mom.

This is the kind of film that Cinema Epoch had been known for in its inception from Mad Cowgirl to Blue Dream. Hope they keep it up!