When Boss Baby was introduced to the world in 2017, the joke caught on as the protagonist looked like the then President of the United States: a baby in a suit and tie, with one eyebrow raised, doing movie poster a whole. promise of pleasure with an adult wink. One detail made him even more appealing: in the original version, he had the voice of Alec Baldwin, the actor who brings the caricature of Donald Trump to life in the Saturday Night Live. And the truth is, that first animation proved capable of reigning at the box office, which also earned DreamWorks an Oscar nomination, which would only be justified by the popularity of the clever premise. The movie itself didn’t add much to the tired action scene model of entertainment, but on the other hand, it didn’t downplay the importance of an emotional trigger, in this case, a boy struggling with the panic of a new sibling. .
Four years later, here we are, we are “gifted” with Baby Boss: Family Business, the sequel signed by the same director, Tom McGrath, in which the boy, Tim, is now an adult, with two daughters and without contact with his younger brother, Ted, who has also become a businessman (or boss?) occupied with the subtleties of power, oblivious to the events that linked them in the first film. Again, the similarities to tycoon Trump are there, but the comic effect is gone. Even though Baldwin is back in charge, voicing the character.
Four years later, we are “gifted” with Boss Baby: Family Business, signed by the same director, Tom McGrath.
This time, the baby boss who wears a suit and tie and talks like adults is Tim’s baby girl (gender equality, check), who comes up with a plan to reunite her father and uncle, making them go back to the size that they had in the first film, to infiltrate a school run by an eccentric and evil pedagogue, who wants to lead a small revolution with a view to ending the “mandate” of all parents on the face of the Earth. .. We’ve seen this villain concept too many times before.
But Boss Baby: Family Business’s biggest problem isn’t even the narrative cliche. We are faced with an animation whose hyperactivity, always looking for ways to distract the small and the big spectator – if there are adults who support the startle -, exhausts all that there is to see in the screen. It’s frantic action after frantic action, sugary, loud mayhem, with two or three scenes trying to connect with an essential truth about growing up keeping the flame of childhood alive. Either way, it never works, and even ends up exasperating, for the way a perfectly empty formula is carried over and without any authentic writing that supports animations with a familiar message.
It’s not that you expected more than a retread of the original model, which in itself wasn’t brilliant, but Baby boss: family affair manages to go further in the ferment of a feeling of frustration at having nothing to offer. A single moment that remains in the memory. I mean, maybe in a few weeks we’ll still remember two babies wringing their nipples. This is the level of imagination.