Respond to these rapid questions in our The Boss Baby Family Business quiz and we will tell you which The Boss Baby Family Business character you are. Play it now.
The thing about talking baby movies (and their accompanying television series) is that they can be successful in some cases and unsuccessful in others. The only problem is that they never really work. Regardless of how much money a stray franchise such as the (I shudder to even type these words) “Look Who’s Talking” movies may have made, none of the films themselves are particularly good or entertaining. And no matter how many seasons “Family Guy” has produced, Stewie Griffin will never be the cultural icon that Bart Simpson has become.
When I was working at Premiere magazine in the 1990s, I remember getting a phone call from someone who wanted to pitch me a cover story on “Baby Geniuses.” For one thing, I felt sorry for the guy, primarily because my phone number was apparently the only one he could find in his search for a Premiere editor, and I was not even remotely in a position to give his film a cover credit. After listening carefully to his pitch, which was based mostly on his insistence that the lip-moving technology for babies was REVOLUTIONARY, I nodded (he couldn’t see me do it, but I hoped he could hear me; I didn’t want to let the fellow down too hard) and walked away.
Of course, Premiere did not include the title “Baby Geniuses” on the cover, and the film is now best known as an adjunct punchline to Paul Rudd’s immortal “Mac and Me” skit on “Late Night with Conan O’Brien,” in which he plays a baby genius.
BUT. Superbabies: Baby Geniuses 2″ was a hit enough to spawn a sequel starring Jon Voight and Scott Baio, serving as something of a cinematic campaign trailer for Donald Trump’s presidential bid.
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“The Boss Baby” appeared to be, and most likely was, something of an automatic pilot move for DreamWorks Animation: it was a comedy about a baby who grows up to be a boss. A talking baby dressed up in a suit! being the CEO of a company! (In reference to Donald Trump) Alec Baldwin provided the voiceover! (In reference to Donald Trump) and is jam-packed with a slew of diaper-related jokes (speaking of … oh never mind).
Four years is a long time to develop a sequel to an unworthy hit, and it is clear from the beginning of “The Boss Baby: Family Business” that the film’s creative team, such as it is, had a difficult time coming up with a workable story line for the film.
The Boss Baby Family Business Quiz
Tim Templeton, played by James Marsden as an adult, tells yet another story. In the first film, he guided us through a narrative in which his seven-year-old self was bedeviled by a younger brother who talked and wore a suit and was up to something with a company called “BabyCorp.” In the second film, he guided us through a narrative in which his seven-year-old self was bedeviled by a younger brother who talked and wore a suit and was up to something with a company called “BabyCorp Since then, Tim has become a father, and one of his children, Tina, an infant voiced by Amy Sedaris, is attempting to exert influence over the Boss Baby in the name of gender equity in second-rate animated entertainment.
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She connives with adult hedge-fund manager Ted (Baldwin) into traveling to the Templeton family’s suburban home using the same cassette-deck trick Tim used in the first film (this is some lazy writing, as you’ll discover if you ever try to buy a cassette deck), and then gives the brothers a formula that reverts them to their respective childhoods, allowing them to infiltrate a parent-upsetting school headed by a sinister pedagogue voice
No one involved in the production even bothered to mention that the entire scenario sounded somewhat forced, which suggests that everyone was too preoccupied with laughing at gags involving infants twisting each other’s nipples and uttering phrases like “performance anxiety” to notice anything else.
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What irritates me is not so much the vulgarity (which is as relentless as it is unfunny), but rather the film’s unrelenting obsession with it throughout the film.
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One sequence, in which Tim tries to help his older daughter Tabitha (voiced by Ariana Greenblatt) overcome her fear of singing, features some pleasant and imaginative semi-abstract animation, which is particularly effective. The rest of the film is a cliched mash-up of the aforementioned gags, frantic action, and tired “importance of family” platitudes that are as transparently insincere as they are cliched.
It is currently playing in theaters and is also available on Peacock.
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