It’s funny how an FBI agent goes under the guise of a fat woman (or more precisely, a Big Momma) and uses it as his modus operandi during the bigger missions. The second time on doing so was inconsequential and by the end of the unendurable, unnecessary stay in Big Momma’s House, he gave the family a farewell letter which was a dreadful debacle made worse by the promise on it – ‘Keep a lookout. You never know when Big Momma might be back.” So Big Momma is back but the subject is changed to plural.

Big Mommas: Like Father Like Son is exactly what it says on the title. Brandon T. Jackson, Alpa Chino from Tropic Thunder, supersedes Jascha Washington as the teenage stepson Trent, alias Charmaine Daisy Pierce when undercover who is Big Momma’s great niece. The film, as well as sequel, is a reboot to the series by initiating Trent as the lead character and opting to appeal to a teenage audience instead of a mature or family-friendly one like the predecessors. Trent predominates on-screen time here hence gives some room for character development, seeing Malcolm is at it for the third time and his antics have become predictable.

The hindrance that Charmaine suffers from is his romantic susceptibility with his irresistible urge to enunciate a sound in such a way that shows his impression of the lady. Unable to adapt to a lady without having sexual desires, this state of affairs sets up the film’s subplot of him dating school colleague Haley – like Malcolm and Sherry in the first film hence this film’s title. Over the course of the film, Trent develops from conceited rapper to a more mature man comprehending and appreciating women in a greater manner. The side of Trent that isn’t established as well as it should have been is his goal of becoming a rapper. It becomes sceptical to an audience when Trent transfers his identity that he wants to become a rapper. No fighting back with Malcolm to prevent himself from entering undercover mode nor an attitude showing commitment to achieving his aspiration. After that, several references are scattered throughout that he already is his own rapper despite a record label contract pending from the start and all throughout. The idea that I got was that being a rapper was just a background to quickly import his character into the story and as something to identify him.

Brandon T. Jackson is literally indistinguishable as his female alter ego. The wardrobe team went to town on make up with the character like they did with Big Momma. It’s ludicrous how the father and son manage to dress and undress as their other half with an outrageous amount of fully body prosthetics in a terribly short amount of time when they’re on the run. Often it could be wondered, are they undercover FBI agents or lame superheroes? Not even Mrs Doubtfire could prepare so quickly, and Robin Williams didn’t spawn any sequels to wreck his amiable disguised character.

If credit is due for any character in this film, it belongs to Kurtis Kool, played by Faizon Love (video game buffs must remember Sweet from GTA: San Andreas whom Love voiced). By far the most entertaining character in the film, the only character sustaining the comedy the film intended for, even if its just the way he says “Momma said knock you out!” The character’s crazy crush on Big Momma makes for a hilarious little sub-plot that is perhaps the best bit of the film, ranging from his funny feelings for her to an amusing game of Twister between the two.

This is the third time unlucky for Martin Lawrence as a single character. The first was merely decent, second went down like a lead balloon, and this part definitely shows signs of a universal panning. The injury added to the insult that this film is that there was no positive production changes – no new director and more importantly, there is still not a good screenplay which was a calamity in the previous films. On the other hand, the first two rocketed in grossing at the box office. Judging from the financial success of the first two, Big Mommas: Like Father Like Son may be another surprise hit but in this dead zone of cinema, there are far better alternates to view.

Verdict: Martin Lawrence should seriously stop. For Brandon T. Jackson, if there’s another instalment, the production will need to be fixed a lot before the crimes are looked into. And I guess you were hoping for a positive review but sorry, I’m only being honest.