Film

Honey, I Blew Up the Kid

Name: Honey, I Blew Up the Kid
Genre: Adventure, Comedy, Family, Science Fiction
Released: 1992
Cast: Rick Moranis, Marcia Strassman, Robert Oliveri, Daniel Shalikar, Joshua Shalikar

Science fiction
Comedy
Light-hearted

A goofy science-fiction sequel where Rick Moranis's hapless inventor accidentally enlarges his toddler son to fifty feet tall in Las Vegas. It's pure 90s family-film chaos: miniature sets, giant-baby destruction, slapstick in a casino. Perfect for kids who love spectacle over logic, and parents willing to turn their brains off for ninety minutes.

TMDb rating

2.7

Should you watch it?

Watch it if you enjoy slapstick family comedy built on a clever gadget gone wrong, where the fun is watching ordinary suburban chaos escalate one oversized object at a time, much like the first Honey, I Shrunk the Kids.

Skip it if you want sharp, grown-up wit or a story that moves briskly; much of the film is a single enlarged-backyard gag stretched out, and the jokes lean broad and sometimes repeat.

What it asks of you: Little more than an easy hour and a half of goofy escalation, with no real weight to carry; you simply sit back while the scale of the mess keeps growing.

Not sure? Find tonight's pick in a minute.

If you liked this

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Innerspace1987

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Matilda1996

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Not sure tonight? Get a pick in a minute, starting from Honey, I Blew Up the Kid

The wildcard

Something you would not have found on your own.

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Short Circuit1986

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But The comedic beats are broad and the romance subplot feels forced. The militaristic framing of the first half drags.

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But The creature effects look rubbery now and the humor sometimes softens the tension. It's not quite horror enough for horror fans or action enough for action seekers.

Crimes and Misdemeanors1989

Both released in 1989 and both feature fathers whose inventions and ambitions create unforeseen chaos—one played for laughs, one for dread. The inverse reveal of the same structural idea: what happens when your plans escape your control.

Woody Allen's sophisticated drama about morality, guilt, and unfunny lives intersecting with more consequence-free ones. Darkly funny, philosophically substantive, and genuinely haunting—a masterpiece of tone.

But It's earnestly intellectual, occasionally pretentious, and offers no easy answers or comfort. Tone shift midway is jarring. It's the opposite of escapism.