Babygirl: Worse Than a Bad Tyler Perry Movie

This movie somehow manages to take the worst instincts of a bad Tyler Perry film and push them to even more unbearable extremes. It’s melodramatic without substance, emotionally hollow yet constantly loud, and filled with characters whose motivations change so frequently it’s like the script forgot what happened five minutes ago. The performances don’t help—most feel like they were pulled straight from a high school drama class: awkward, overacted, and completely out of sync with the material.

The film tries to generate erotic tension with dreamlike music and slow, sultry sequences, but it all falls flat due to the glaring lack of chemistry between the leads. The dialogue is cringeworthy, the delivery even worse, and instead of creating any real sensuality, the movie veers into full-on secondhand embarrassment territory. The character dynamics are equally baffling. Every interaction feels off, as if the actors were given conflicting directions or no direction at all. Emotional turns come out of nowhere, and nothing about the relationships feels earned or believable. It’s a tonal mess—constantly shifting gears between soap opera theatrics, wannabe noir, and half-baked erotica with no cohesion.

What’s especially frustrating is how seriously the movie takes itself. There’s no self-awareness, no wink to the audience—just an overconfidence in material that doesn’t deserve it. Even moments that are supposed to be high-stakes or deeply emotional land with a thud because there’s no real grounding for anything that’s happening.

If there’s one saving grace, it’s the costume design. Oddly enough, it’s the only part of the production that feels like it was created with intention and skill. The outfits are vibrant and sharp and at least give your eyes something interesting to focus on while everything else crumbles. You get the sense that whoever handled the wardrobe actually understood the mood the film wanted to convey—even if the rest of the team clearly did not.

Unfortunately, even standout visuals can’t save a story this disjointed. The ending is abrupt, out of nowhere, and provides zero closure. It’s the cinematic equivalent of someone walking out of a room mid-conversation—confusing, unsatisfying, and ultimately pointless.