Sometimes you watch films more or less by mistake. That was definitely the case with The Boss Baby, which my son had bought on iTunes to watch as mindless background while he got on with a university project. As mindless background, it worked. As a film, not so much. It is an animated movie, produced by Dreamworks, which features a baby who is like an old style 1950s manager who drops in on a household for reasons that I think were explained in the narrative sometime after I had lost the will to live.
In fact, once you know the premise, you can pretty much fill in both the plot and all of the jokes. And the main problem with such films is that Pixar has raised the bar so high on the animated film, in terms of depth of story and richness of storytelling, that something like The Boss Baby careens straight under it.
Almost the only amusement was playing spot-the-reference on the chase sequence. Toy Story, Mary Poppins, ET (well, the chase involved a bicycle, so we were waiting for that) and what definitely looked like an unsubtle nod to Battleship Potemkin‘s Odessa Steps sequence. Again, The Simpsons has upped the game for everyone on this stuff, and I wished they’d put the energy into making the story better.
So, don’t waste your time watching the film.
But rules are rules, and I need to find a moment here. I’m going to go for the intro sequence of the babies being processed, because wittingly or not director Tom McGrath had managed to recreate the spirit of the great pre-war dance musicals directed by Busby Berkeley. It never recaptures that brief moment of promise.
Here’s the babies sequence in The Boss Baby.
And here is something from Busby Berkeley.