"How you gonna hide swag as big as this?" After Malcom's (Lawrence) aspiring rapper step son Trent (Jackson) sees a murder it's up to Malcolm to hide Trent and find the evidence he needs to put the murderer in jail. There is only one way to complete this...become Big Momma again. After watching the first two I was actually kind of looking forward to this one. The first one was a good movie, but I thought the second one was funnier. This one took all that was funny about the first two and replaced it with "High School Musical" aspects. A lot of choreographed dance sequences and a lot of singing, not what I expected to see in this movie. Although there were a few funny parts, the movie was a re-hash of the same jokes from the first two, but not as funny. This is a perfect example of Hollywood running out of ideas and only doing re-makes, turning TV shows into movies, prequels and sequels that don't need to be made. After a five year break another sequel to Big Momma didn't seem to be needed, and after watching this it only made that fact more clear. Overall this movie does for the Big Momma series what "Batman & Robin" did to the "Batman" series, or what "Rocky 5" did to the "Rocky" series. Makes you think...why didn't they stop at the last one? I give it a C-.

Would I watch again? - No way, but like the other series I mentioned I would watch the others before this one if they were on TV.

*Also try - Big Mommas House 1 & 2

I have to re-watch the previous Big Momma movies, but my memory of them was that they were mediocre. I don't remember them though being as bad as this one, which is one of the worst movies of the year so far in my opinion. The film doesn't look anything special visually, likewise with the soundtrack which was nice to listen to but forgettable not long after. The direction is often unfocused and while Martin Lawrence is good Brandon T.Jackson tries too hard and ends up over-compensating. It was the humour, characters and the story that sinks the film. The story is rushed and predictable, the characters are annoying and little more than irritating stereotypes-some of whom also verge on offensive- and the script is dire and the jokes tasteless. All in all, really quite dire. 1/10 Bethany Cox

To live in the world of Big Momma, it helps if you have the intelligence of a box of instant potatoes. That way, Detective Malcolm Turner (Martin Lawrence) and now his 17-year-old stepson Trey (Brandon T. Jackson) can pass themselves off as women, despite both of them looking like they escaped from a bad Saturday Night Live sketch, and not arouse suspicion. That both of them are able to fool an entire girl's college campus is one mental hurdle the movie asked of me that I just could not accomplish.

Of course, given the attempts at humor on display in Big Mommas: Like Father, Like Son, it probably wouldn't hurt if the audience shared the same IQ as the characters up on the screen. There's not a single laugh to be had. Believe me, I counted. But then, that's not surprising when the film's sole joke was explored to its fullest in 2000's Big Momma's House. That was the movie where Lawrence went undercover as a 300 pound Southern granny in order to crack a crime. Somehow, this idea struck a chord with enough people to see the movie gross over $100 million, which led to 2006's Big Momma's House 2. It was less successful at the box office, but here we are with the third film. Not only does the Big Momma disguise that Lawrence dons look a little more worn out than before, but Lawrence himself seems confused as to what he's doing back in the role. It's an encore performance that no one, not even the star, asked for.

Lawrence is back as Malcolm, although his love interest (played in the previous two films by Nia Long) is nowhere to be seen. I guess they couldn't pay her enough to come back, so they explain in dialogue that she's away at a retreat. This leaves Malcolm to deal with family problems on his own, such as stepson Trey wanting to ditch a college education at Duke University, so that he can become a rap artist. Trey is underage, and needs his dad's signature in order to sign a contract with a music producer. In what is probably not the brightest of ideas, Trey decides to follow Malcolm on a bust of some Russian gangsters, hoping he can corner him and convince him to sign the contract. (I told you these characters were dumb.) This leads to Trey witnessing a murder, and having the gangsters gunning after him. Malcolm decides that the best way for his stepson and him to remain inconspicuous is to dress in drag, a fat suit, and clothes that look like they were stolen from a circus clown's wardrobe.

They head for the Georgia All Girl's School for the Performing Arts, where incriminating evidence against the mobsters has been conveniently hidden, and even more conveniently, a position for housemother has opened up. No need for any real credentials or background checks, apparently. "Big Momma", with Trey posing as her granddaughter, show up and immediately get wrapped up in campus life, and the various emotional problems (boys, the stress to be popular and "perfect") that the students face. The movie can't think of a single funny thing to do with its premise. Every scene ends with either a tired physical gag (Big Momma poses nude for an art class!),or sometimes no laugh at all, just an awkward transition to the next scene. I guess we're supposed to get caught up in the subplot of how Trey falls for one of the girls at the school (Jessica Lucas),and is forced to keep his feelings and identity a secret. All I could think about is how does this girl not realize that Trey and his female disguise are one and the same person, especially since she spends ample personal time with both of his identities?

I don't think I'm spoiling much by revealing that Big Mommas ends with the gangsters getting what they deserve, and father and son bonding during their time in drag together. This is an unwanted and miscalculated comedy that is so lacking in energy and entertainment, it's mind boggling. Nobody up on the screen looks like they want to be there, and as the movie dragged on through its overlong 107 minutes, I felt a connection with them. At least I was feeling something.