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    Movie Review

    The Boss Baby aims for chuckles over sentimentality

    Alex Bentley
    Mar 30, 2017 | 5:19 pm
    The Boss Baby aims for chuckles over sentimentality
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    Since animated movies are most often aimed at families, it’s no surprise that many storylines feature families prominently. What better way to tug at heartstrings or impart a certain set of values than by making your movie all about the family unit?

    That thought process is given a twist in The Boss Baby, in which Tim (Miles Christopher Bakshi) is dreading his family’s impending addition of a baby brother. When the baby (voiced by Alec Baldwin) does arrive, he becomes the boss of the family, becoming the primary focus of Mom and Dad (Lisa Kudrow and Jimmy Kimmel), leaving Tim to essentially fend for himself.

    But instead of it just being a metaphor about how babies have everyone at their beck and call all the time, the baby is a literal boss, wearing an actual business suit and working for a company called Baby Corp. that’s being threatened by PuppyCo. for dominance in the cuteness category. Tim and the baby, who initially feud over each’s place in the family, must come together so that each can get back to their rightful place in the world.

    The film, directed by Madagascar’s Tom McGrath, has a lot of clever touches. On the adult side is the casting of Baldwin, whose time as Jack Donaghy in 30 Rock and Blake the motivator in Glengarry Glen Ross each serve as references and inspiration. On the kid side are, among other things, the baby’s “co-workers,” an eccentric band of neighborhood infants who assist him in his quest.

    It takes some time to get used to the film’s premise, though. It initially seems as if the baby’s appearance as a boss is purely the imagination of Tim, and most of the film is portrayed in a way that could lead to that interpretation. But there are plenty of times where the opposite could be true, and this causes some plot confusion.

    The film is also heavily focused on comedy, leaving little to no room for any other emotions. While certainly not a necessity, it comes off as a bit odd to make a film all about family dynamics and not at least attempt to wring a few tears from the audience in the process.

    I’ve long derided the casting of name-brand actors in voiceover roles, since few have such distinctive voices that they stand out. Baldwin works due to the oddity of the part, but Kudrow and Kimmel don’t add anything special to their roles. Steve Buscemi is okay as the baby’s chief rival, but Tobey Maguire as the narrator is about as bland as it gets.

    The fun of the film carries the day for the most part, although the further you are away from having a baby, the less you may enjoy it. Both as a metaphor and literal interpretation, the idea of a baby running roughshod over a family that seemed to have everything settled is an idea that’s relatable to both kids and adults.

    Mom (Lisa Kudrow), the baby (Alec Baldwin), and Dad (Jimmy Kimmel) in The Boss Baby.

    The Boss Baby
    Photo courtesy of Dreamworks Animation
    Mom (Lisa Kudrow), the baby (Alec Baldwin), and Dad (Jimmy Kimmel) in The Boss Baby.
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    Movie Review

    Michelle Pfeiffer visits Houston in new Christmas movie Oh. What. Fun.

    Alex Bentley
    Dec 5, 2025 | 3:30 pm
    Michelle Pfeiffer in Oh. What. Fun.
    Photo courtesy of Amazon MGM Studios
    Michelle Pfeiffer in Oh. What. Fun.

    Of all the formulaic movie genres, Christmas/holiday movies are among the most predictable. No matter what the problem is that arises between family members, friends, or potential romantic partners, the stories in holiday movies are designed to give viewers a feel-good ending even if the majority of the movie makes you feel pretty bad.

    That’s certainly the case in Oh. What. Fun., in which Michelle Pfeiffer plays Claire, an underappreciated mom living in Houston with her inattentive husband, Nick (Denis Leary). As the film begins, her three children are arriving back home for Christmas: The high-strung Channing (Felicity Jones) is married to the milquetoast Doug (Jason Schwartzman); the aloof Taylor (Chloë Grace Moretz) brings home yet another new girlfriend; and the perpetual child Sammy (Dominic Sessa) has just broken up with his girlfriend.

    Each of the family members seems to be oblivious to everything Claire does for them, especially when it comes to what she really wants: For them to nominate her to win a trip to see a talk show in L.A. hosted by Zazzy Tims (Eva Longoria). When she accidentally gets left behind on a planned outing to see a show, Claire reaches her breaking point and — in a kind of Home Alone in reverse — she decides to drive across the country to get to the show herself.

    Written and directed by Michael Showalter (The Idea of You), and co-written by Chandler Baker (who wrote the short story on which the film is based), the movie never establishes any kind of enjoyable rhythm. Each of the characters, including competitive neighbor Jeanne (Joan Chen), is assigned a character trait that becomes their entire personality, with none of them allowed to evolve into something deeper.

    The filmmakers lean hard into the idea that Claire is a person who always puts her family first and receives very little in return, but the evidence presented in the story is sketchy at best. Every situation shown in the film is so superficial that tension barely exists, and the (over)reactions by Claire give her family members few opportunities to make up for their failings.

    The most interesting part of the movie comes when Claire actually makes it to the Zazzy Sims show. Even though what happens there is just as unbelievable as anything else presented in the story, Showalter and Baker concoct a scene that allows Claire and others to fully express the central theme of the film, and for a few minutes the movie actually lives up to its title.

    Pfeiffer, given her first leading role since 2020’s French Exit, is a somewhat manic presence, and her thick Texas accent and unnecessary voiceover don’t do her any favors. It seems weird to have such a strong supporting cast with almost nothing of substance to do, but almost all of them are wasted, including Danielle Brooks in a blink-and-you'll-miss-it cameo. The lone exception is Longoria, who is a blast in the few scenes she gets.

    Oh. What. Fun. is far from the first movie to try and fail at becoming a new holiday classic, but the pedigree of Showalter and the cast make this dismal viewing experience extra disappointing. Ironically, overworked and underappreciated moms deserve a much better story than the one this movie delivers.

    ---

    Oh. What. Fun. is now streaming on Prime Video.

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    news/entertainment

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