Rowan Atkinson returns to familiar comedic territory, but this time with a significantly more charming adversary than a buzzing insect. “Man vs Baby” marks a welcome improvement over its predecessor, offering a tightly-paced, four-episode adventure that’s a genuine delight.
The story centers on Trevor Bingley, a divorced father facing a bleak Christmas. He’s desperately trying to conserve heat in his frigid home, hoping to impress his daughter and ex-wife, only to discover their holiday plans have shifted to a tropical paradise. Financial pressures mount as final notices pile up and a hefty tuition bill for the Sorbonne looms.
Just when things seem dire, a peculiar opportunity arises. A local school nativity play is left without its star – a real baby to portray the infant Jesus. When the child is unexpectedly abandoned after the performance, Trevor’s life takes an utterly chaotic turn.
He’s unexpectedly contacted by the same housesitting agency that previously led to disaster. This time, the assignment involves a breathtakingly opulent London penthouse, owned by individuals unaware of his past mishaps. The stakes are high: success means securing the funds for his daughter’s education.
The penthouse is a showcase of extravagant wealth, filled with designer goods and luxury items. As Trevor attempts to navigate this world with an unexpectedly entrusted baby, a hilarious trail of destruction begins. The sheer volume of product placement is noticeable, almost blurring the line between narrative and advertisement.
Subtle improvements have dramatically elevated the series. The premise feels more grounded, and Atkinson’s interactions with a child create a more relatable dynamic than his previous struggle against an inanimate object. The initial, slightly unsettling premise of “antagonistic infanticide” is thankfully absent.
The concise, two-hour runtime is a major strength, prompting the question of why this wasn’t conceived as a standalone film. The humor relies heavily on Atkinson’s signature physical comedy and masterful expressions, a talent that remains undiminished.
While one might argue Atkinson’s talents are somewhat underutilized, his ability to elicit laughter with a simple contortion of his face is undeniable. “Man vs Baby” is a perfect, easy-going Christmas watch, guaranteed to provide more amusement than its predecessor.
Prepare to laugh, and perhaps find yourself strangely craving a glass of Dom Perignon while pondering why Atkinson revisits this character instead of some of his more iconic roles. It’s a charming, chaotic, and ultimately satisfying return to form.
