Boss Baby is a surprisingly charming take on juvenile insecurity and rivalry. If you have gone through this when younger, you would be delighted by this whimsical reminder.
7-year-old Tim Templeton lives the perfect life with his doting parents, till the sudden appearance of a baby brother. Worse, Tim also soon discovers the baby is not at all what he seems. Beginning with how he actually talks like an adult.
Boss Baby surprised me. I watched it only because there wasn’t anything else interesting at the time slot I wanted. I also walked into the cinema expecting DreamWorks’ usual formula of street talking and pop reference gags. These usual suspects were all there, but unexpectedly only to complement the original theme of Marla Frazee’s book. It was just minutes in the movie before I was hopelessly charmed by this celebration of juvenile imagination and sibling dynamics.
Just to be clear, I’m not saying that the plot is great. The novelty of a smart-mouth baby gets tired quickly, and it wasn’t long before I wished he stop dispensing corporate clichés or taking one of his special naps. What kept the viewing alive for me was how so many of the conflicts between Boss Baby and Tim, the boy of the story, are obviously inspired by typical real-life contentions between brothers. Little bro wrecking big bro’s beloved toy. Big brother going all out to snitch on younger bro. Etc. Added to these are also various sly observations about the children’s perception. Every boom is akin to an atomic blast. All furniture are so towering, even if merely adult height. Thanks to these, a nostalgic magic is injected into the whole movie. It made me long to be in Tim’s world, if only because I had once been there.
Lastly, I absolutely loved the first credits scene. What the World Needs Now is Love might not exactly have prefect lyrics for the story. But the dreamy drift of it certainly wraps up the movie very well.
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