Inthisverylate60'sirreverent,almostanarchiclow-budgetfilm,BrianDePalmadefinesmoreofhisstrange,givenHitchcock-likefascinationofvoyeurism,andattackstheissuesoftheday.Themostprominentofwhich,bothcringe-inducingandjustplainfunny,iswhenhefocusesontheblack-powermovement(ablackwomanhandingoutfliersaskingwhitepeople'doyouknowwhatit'sliketobeblack'),whichissomethingthatcouldonlyworkforthattimeandplace,notbeforeornowddd　　Butoneofthekeythingstotheinterestinthefilmis27yearoldRobertDeNiro(nothisfirstorlastfilmwiththedirector),whoplaysthischaracterwhositsinaroomlookingoutthroughhistelescopeatwomenintheirrooms,settingupphonydeals,andintheendbasicallythrowingbombs.ThosewhohavesaidthatDeNirocan'tactandjustishimselfineverymovieshouldseethismovie,ifonlyoutofsomeminorcuriosity.Acoupleoftimesinthefilmit'sactuallynotfunny,aswhenthere'sadisturbanceinablack-powermeeting(filmedinagrainer,rougherstylethantherestofthefilm).　　Intheendit'scappedoffwitharamblingmonologueinaninterviewthattopsDeNiro'sinKingofComedy.It'sprettyobviouswhereDePalma'scareerwouldgoafterthis,intoslightlymoremainstreamHollywoodterritory,butallofhistrademarksarehere;thedark,almostnail-bitingcomedy,theperfectlytimedstyleofvoyeurism,andinterestingusageoflocals.ThinkifDePalmaandDeNirodidaMontyPythonfilm,onlyevenmorelow-budgetandinitsNewYorkwayjustasoff-the-hinges,andyougotHi,Mom!Italsocontainsaneccentricandfunnysoundtrack.　　imdbcomment