Nate Bargatze’s Film Faces Poor Reception

Nate Bargatze’s latest film, breadwinner of the family, has not fared well with critics, and the opening weekend box office results reflect this disappointment.

By Sunday, the film was projected to have earned around $8 million during its debut weekend, from May 29 to 31. This is a significant drop from the anticipated $18 million, according to reports.

Bargatze plays Nate Wilcox, a leading salesman at a local car dealership. When his wife, portrayed by Mandy Moore, decides to launch her own product line, Nate suddenly finds himself in charge of their three daughters. Unfortunately, he’s completely out of his depth. He struggles with basic tasks like doing laundry and even buying eggs. It’s a scenario many might find relatable.

Critics, however, noted that similar “incompetent dad” tropes were better executed back in 1983 with Michael Keaton in Mr. Mom. Many feel that Bargatze’s version lacks the energy to really resonate.

For example, Matt Zoller Seitz remarked on rogerebert.com that breadwinner of the family pales in comparison to Weird: The Al Yankovic Story, another project by director Eric Appel, which he found to be “a thousand times better.”

Movie Nation has labeled the film a “Mr. Mom wannabe” and criticized Bargatze’s acting skills. A review suggested that viewers might find themselves staring at his lifeless performance and questioning how this project got approved.

Meanwhile, Rolling Stone described it as essentially a remake of Mr. Mom but so forgettable that it feels like a product being marketed rather than an actual film.

Critics continue to weigh in harshly. William Viviani writes for “The Wrap,” expressing that the film recycles tired themes. Other reviews, including from the Boston Globe, suggested that the movie was poorly executed and uninspired, even going so far as to describe it as a “family comedy for people who hate their families.”

To top it off, the studio chose not to screen the film for critics prior to its release—a decision that often hints at low confidence in the film’s quality.

In an era where contemporary comedies have moved away from outdated stereotypes, Bargatze’s approach to the “incompetent father” trope feels out of touch.

Despite his long-standing success as a stand-up comedian, where his persona has resonated with audiences, this character may not translate well in his film debut, which was penned by him. It raises questions about why his successful comedic sensibilities didn’t carry over into this project.

The portrayal of the struggling father figure has been a staple since the 1970s, evolving from the wise, loving father archetype to the bumbling mess that seems to be the comedic norm today. This shift, while perhaps humorous, has also drawn criticism in today’s cultural landscape.

Bargatze’s stand-up may thrive in live performances, but the portrayal of an incompetent father may no longer hold the same charm outside that setting. And maybe that’s for the best.