Challenged by the formidable reputation set by Pixar, “The Boss Baby: Family Business” finds itself in a difficult position, offering a notable departure from the enchanting brilliance of Pixar’s “Luca.” This Dreamworks sequel, helmed by director Tom McGrath, once again exploits the central theme of a business-savvy baby but takes the concept to extravagant and somewhat disjointed extremes.
Stepping into adulthood, the narrative pivots to follow older brother Tim, now a stay-at-home dad, and Boss Baby Ted, who has seamlessly transitioned into the role of a hedge fund CEO. The film introduces a new layer to their relationship dynamics, as they have grown apart but still harbor Ted’s clandestine past as an agent for Baby Corp., a conglomerate manufacturing a formula that enhances adult intelligence.
The movie opens with Tim reflecting on the fleeting nature of childhood, emphasizing the truism that adults and children are not as dissimilar as one might think and can sometimes interchange roles. A significant portion of the film is dedicated to exploring the fractured bond between the brothers, a theme that resonates with familial relationships.
Enter Tina, a character unveiled as another Baby Corp. agent, who beckons Tim and Ted back to the conglomerate for a fresh mission. This involves reverting to their ages from the previous movie, assuming undercover identities, and investigating the school’s principal, Dr. Armstrong, portrayed by the enigmatic Jeff Goldblum. Dr. Armstrong’s plan for a baby revolution adds an element of absurdity to the storyline, yet it carries a satirical commentary, particularly evident in the school pageant that boldly attributes climate change issues to the older generation.
In a plot twist reminiscent of the vibrant and critically acclaimed “The Mitchells vs. the Machines,” Dr. Armstrong’s scheme cleverly exploits parental dependence on smartphones. The younger generation, represented by Tina and other children, is portrayed as having a legitimate reason to believe they could navigate the world more adeptly.
Despite its madcap plot, sprinkled with running gags along the way, “Family Business” seems tailored to provoke dizziness in parents seeking coherence from their young movie companions. The movie, in a somewhat corporate fashion, delivers a computer-generated candy rush for kids. Occasionally, the film’s own business imperatives peep through, somewhat disrupting the seamless flow of the narrative.
However, amidst the chaos, “Boss Baby” manages to carve out a niche in its own right. A particular scene stands out—a brilliantly animated moment shared between Tim and his daughter Tabitha, set to Cat Stevens’ “If You Want to Sing Out, Sing Out.” This scene injects a welcome dose of emotion and redemption into “Family Business,” even if some viewers may still feel tempted to discard the movie entirely.
In essence, “Boss Baby: Family Business,” released by Universal, receives a PG rating from the Motion Picture Association of America for rude humor, mild language, and some action. Clocking in at 107 minutes, the film earns two stars out of four, reflecting its valiant but ultimately faltering attempt to match the storytelling prowess of its competitors.
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