Spider One’s creative insight just gets better and better with each new piece of work. Welcome, Big Baby to his growing roster of inventive horror!  

Screenwriter Adam Lewis (a compelling and astute Brandon Scott) is listening to podcasters completely tear apart and demolish his newest conception, The Blackest Moon. As these millennials on the microphone verbally obliterate his vision and artistic endeavor, his frustrated defeat is consoled by his partner love, Kate (Krsy Fox as a formidable blondie). As she eases his flaring fury for the radio critics who clearly fail to grasp his innovation, Kate pushes Adam to give up the reviewers’ power and regain control over his talent.  

Adam resumes his outlet by staying up late on the laptop to begin again, despite the negativity received from outsiders. When he snaps up to a disturbing visceral dream of a giant-sized infant who slices up Kate in bed, he realizes that this may be his next venture – Big Baby.  

That is, if he can withstand the boundaries crossed between mental manipulation and genuine reality. Was that a dream after all?  

He pitches this newfound slasher franchise to Kate, his best buddy James and other trusted resources who continue to support his ambition – to be a skilled writer in the horror movie genre. As the imaginative process continues, prompted by additional disturbing images and several alarming incidents of murder and mutilation, Adam is now contemplating the control that Big Baby has over in his cognitive state. As the visuals grow in graphic nature, his life literally becomes stranger than fiction when a developed imaginary character emerges on his front step to beg for her life. Amanda. Amanda, from the unfinished script, is pleading to be saved in the unwritten pages of the Big Baby tale. What the fuck is going on?  

The nightmare stalkings amplify as Adam’s writing becomes more confident, until a visit from Big Baby threatens his relationship beyond his comprehension and he is forced to take a break from the insanity that has devastated his relationship. Kate’s supportive nature is consistent with her unconditional love for Adam (albeit her disillusionment with what he is experiencing), and they make a pact to improve their home life before this story completely dissolves their alliance.  

Unfortunately, Big Baby has alternate plans that are not up for negotiation, and the manuscript is forced forward with heightened slaughters, gruesome gore and unlimited nastiness that reaches new levels of brutality. This is no longer a narrative about a slasher in an adult baby mask. This is now Adam’s surrealistic mentality, taking over all veracity until he accomplishes one thing: finish the story or lose Kate. And if he obliges, how exactly will this end after countless bloody deaths are (literally) in his hands? At times like these, perhaps being a horror film critic is the best option.,. all things considered.