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By Reno August 14, 2017
**The baby on a mission!**
If you ask anybody from the pre 90s, they would say their love for animated feature started with 'Toy Story'. But mine was DreamWorks' 'Antz'. So this production house might not be as good as Disney or Pixar, but still a better one than the rest of those who are in the same business, except Sony who comes equal. I wanted this film to be good, yeah, it is a box office hit, but not critically. The regular animated film goer accepted it. And I think as well, it is entertaining, so much fun in parts, if not the entire film.
The story of a boy whose happy life being an only child has taken away from his newborn little brother. Then one day he discovers the baby could speak and came to the house with a bigger plan. Knowing what it is and joining hands with him to tackle is what the remaining narration covers. Quite fun film. Animation, story and all the adventures were good. The voice-over was great. Alec Baldwin was awesome, but it's fair to praise the technicians, the animators.
At first, I thought some of the jokes were rude, if the film is for families, particularly for the kids. But when I watched the rest of the film, it did not look going anymore worse. A simple story and predictable, but it was enjoyable, that makes you forget yourself for a while. Despite the mixed response in acceptance, I've heard the sequel is on, in a couple of years. I think it is a good decision, even the storyline, how it ended encourages that. It's not going to be your favourite animated film, but surely not to be missed if you love animation.
By Richard von Busack April 10, 2017
Strangely, having human characters in a full-length animated 3D cartoon makes the ambience more cartoonish. Zootopia turned the animals human, whereas The Boss Baby takes place in cartoonland. It's vibrantly colorful, delightfully odd and seriously under the influence of Looney Tunes: Chuck Jones' Walter Mitty pastiche "From A to ZZZ" (1954) and Bob Clampett's "Baby Bottleneck" (1946) ought to open for this.
The daydreaming 7 ￂﾽ year old Timothy is an only child in a suburban paradise. Timothy's happiness is shattered by the arrival of a new baby brother who is a sort of goblin: an executive from Baby Corp., a suit-clad, attache case-holding hard-charger. Voiced by Alec Baldwin, this adult in baby disguise is there to keep an eye on a potentially calamitous development involving rivals. He's prepared to tolerate Timothy as long as the boy minds his own business and lets him get all the parental attention. Parental love is a zero-sum game. "We can share..." Timothy says. The baby cuts him off: "You obviously never went to business school."
How Trump is this? The golden potty in the Boss Baby's office rang a bell, but I'm not feeling the parallels. Bald execs who act like vicious, bawling crybabies preceded the reign of Trump and will presumably survive him. It seems more Baldwin than Trump here: "Cookies are for closers!" the diapered tyrant snarls, making this the only family movie this year to have a reference to David Mamet.
Director Tom McGrath (Madagascar) seems liberated as never before to run with the various modes of this animation, from breakneck kiddie-car chases to a snickering face in a mushroom cloud. The color is wild, with fauvist dream sequences of the Congolese jungle; flat, fun-house ultra-violet nightmares and a finale in Vegas. McGrath never seemed this macabre before. Only during a fraying third act (complete with missile countdown and catwalk fight) does the invention run thin. Baldwin's amusing weaselry and manipulation stays fresh; meanwhile, the jumbo, Christmas-ornament-sized eyes and exposed butts lull the kids.