Every few years, a holiday comedy comes along that doesn’t just make us laugh — it sneaks up on us with warmth we didn’t see coming. The Grinch Got a Baby (2025) is that kind of movie: wildly funny, unexpectedly sincere, and full of the kind of chaotic Christmas magic that can only happen when Ice Cube, Tyler Perry, and the Grinch share the same screen. It’s a film that shouldn’t work — and yet, like the Grinch himself, it wins you over one ridiculous scene at a time.
The story begins in classic Grinch fashion: high above Whoville, our favorite green curmudgeon (voiced once again by Benedict Cumberbatch with sardonic perfection) is enjoying a peaceful, people-free winter. That peace shatters when a freak snowstorm dumps a mysterious baby at his doorstep — literally wrapped in tinsel and wailing like an air raid siren. Against every instinct, the Grinch decides to bring the child into town, hoping to find its family. Instead, he collides — both figuratively and physically — with two humans on a mission of their own: Darnell (Ice Cube), a no-nonsense single dad trying to survive the holiday rush, and Pastor Curtis (Tyler Perry), Whoville’s most dramatic, overzealous preacher.
From there, chaos becomes an art form. The trio’s attempts to care for the baby spiral into slapstick mayhem: exploding bottles, diaper blowouts that defy physics, and a disastrous attempt to lull the baby to sleep with gospel music and gangsta rap — at the same time. Yet beneath the absurdity, there’s a sweetness that sneaks in like snow through an open window. Each man, in his own way, sees something in the child — a chance to love, to heal, to belong.
Ice Cube is a revelation here. His trademark scowl plays perfectly against the Grinch’s disgust for all things sentimental. Watching the two argue over who’s the “grumpiest dad” is pure comic gold. Yet Cube also delivers the film’s quietest, most genuine moments — especially in scenes where he admits that raising a kid, green or not, scares him more than anything. Tyler Perry, meanwhile, turns in a hilarious dual performance as both Pastor Curtis and his equally opinionated alter ego “Sister Clarice,” who shows up for a few unforgettable church scenes. His exaggerated sermons on “divine diaper duty” are destined to become meme-worthy holiday moments.
But it’s Cumberbatch’s Grinch who ties it all together. This isn’t the cold-hearted misanthrope of the past — it’s a Grinch learning that love, once found, is hard to unlearn. His transformation from reluctant babysitter to fiercely protective father figure is handled with surprising delicacy. Cumberbatch layers his signature snark with flickers of vulnerability, giving the Grinch emotional depth that feels both fresh and earned. When he finally calls the baby “mine” — growling through tears and laughter — it’s as heartwarming as anything in Elf or Home Alone.
Director Malcolm D. Lee (Girls Trip, Space Jam: A New Legacy) balances the outrageous humor with genuine feeling. His Whoville is a feast for the eyes — neon-lit snowflakes, candy-cane streetlights, and chaotic Christmas parades that make you feel both overstimulated and overjoyed. Yet the real beauty lies in the film’s smaller moments: the three unlikely dads singing lullabies under twinkling lights, or the Grinch’s awkward attempts at baby-proofing his mountain lair with duct tape and despair.
The screenplay, co-written by Kenya Barris and Tina Fey, crackles with wit and warmth. Every joke lands with personality, from the Grinch’s deadpan observations (“Why do humans produce so many fluids?”) to Ice Cube’s weary sighs (“Man, this baby’s louder than Whoville at Christmas morning”). Yet the film never sacrifices sincerity for punchlines. Its core message — that family isn’t something you plan, it’s something you build — rings true through every laugh.
The supporting cast is equally delightful. Cameos from Lizzo (as a singing snow fairy), Jack Black (as the mayor of Whoville), and Keegan-Michael Key (as the baby’s mysterious guardian angel) add bursts of energy without overstaying their welcome. Each guest appearance feels like a wink rather than a gimmick, adding to the film’s holiday charm rather than distracting from it.
Visually, The Grinch Got a Baby sparkles with color and chaos, but its emotional palette is richer still. By the time the snowstorm clears and the baby’s true identity is revealed (no spoilers, but it’s both hilarious and tear-jerking), the film has transformed from farce to fable. The final sequence — the Grinch, Darnell, and Pastor Curtis sharing Christmas dinner in a house filled with laughter and broken ornaments — is pure cinematic joy.
In the end, The Grinch Got a Baby (2025) succeeds because it understands what made Dr. Seuss’s original tale timeless: the idea that even the smallest spark of love can melt the iciest heart. Wrapped in outrageous humor and powered by three phenomenal performances, this holiday comedy becomes something deeper — a celebration of chaos, compassion, and the weird, wonderful families we choose.
