THE BOSS Review

Ready for another ride on that now revered cinematic stand-by, the “riches-to-rags-to-riches” story? This seems to be more popular now, although the “rags-to-riches” tale of triumph occasionally pops up, as in last December’s inspired by true events crowd-pleaser JOY. And once more, this up and down and up scenario is mined for laughs, just as in the comedy from nearly a year ago, GET HARD. Oh, and what a coincidence, one of the stars of that film, Will Ferrell, is one of the producers of this new film. But neither he or one of the other kings and princes of current movie mirth star. Rather, this is another starring vehicle for the reigning (nearly five years now) queen of cinema comedy, Melissa McCarthy. In between last summer’s smash SPY and next summer’s much talked-about reboot/re-imagining of the GHOSTBUSTERS, she has re-teamed with hubby Ben Falcone on this script (along with actor Steve Mallory) which Ben also directs. Now the last time the couple collaborated like this was two years ago on the wildly uneven TAMMY. Can the duo rebound from that much-maligned effort with THE BOSS?

The title refers to Michelle Darnell, who we first encounter during several rejections occurring during her childhood. Several prospective parents drop her back off at a “sisters of mercy”-type orphanage, returning her to Sister Aluminata, and speeding away. Teenage Michelle vows, ala Scarlett O’Hara, that she’ll show them by being rich and successful. Jump cut to today as the adult version (McCarthy) packs a huge Chicago stadium for her motivational seminar on how to attain great wealth (after all, she’s the 47th richest woman in America). Later, as she berates her stressed-out assistant Claire (Kristen Bell), Ms. D gets a call from business rival (and ex-lover) Renault (Peter Dinklage). Seems she has screwed him out of a big stakes company acquisition and boasts of her “inside info”. But Renault (pronounced “Rey-no”), has something up his petite sleeves and contacts his man at the SEC. As she leaves her high-rise HQ the next morning, she is arrested for insider trading. After a quick trial she is found guilty and sentenced to a “minimum security” prison (more like a country club). Claire continues to aide her, but soon quits since the feds have taken every bit of the Darnell empire, and the single mom takes an investment job at a small firm, in order to provide for her pre-teen daughter Rachel (Ella Anderson). When Michelle is released, no one is there to welcome her back to society. Desperate and destitute, Michelle arrives at the modest apartment of Claire, who agrees to let her ex-boss crash on the couch for a few days. This stretches into weeks. Claire insists Michelle help out by taking Rachel to an after-school meeting of the Daffodils, a national girls’ club. As Michelle learns of their highly profitable cookie sales drive, a light bulb goes off. Claire has a fantastic brownie recipe, so…Michelle creates a rival to the Daffodils, Darnell’s Darlings, in order to sell the treats door to door. Will this be her ticket back to the big time? Or will Renault thwart her once more?

Once again, the talented McCarthy completely commits to a comic character (one she helped create years ago during her stint with the Groundlings, an LA-based improv comedy troupe) and is the film’s energetic power-source. From the moment we see her gliding atop a golden phoenix, her turtleneck nearly stretched to her mouth like a ginger sister of Bazooka Joe’s pal Morty, she commands our attention even in Darnell’s most outrageous behavior. Somehow, we continue to root for this vain whirlwind, a credit to McCarthy’s considerable acting chops (shown best in 2014’s low key supporting work in ST. VINCENT). She’s got a gifted comedy partner in Bell (though not quite the zenith of Sandra Bullock in THE HEAT). Ms. Bell doesn’t have as many chances to really cut-loose, although the bra debate is one of the film’s highlights. Often, she’s merely there looking aghast at Darnell’s antics. And she’s saddled with a dreary romantic subplot with office cubicle neighbor Tyer Labine, so funny in TUCKER AND DALE VS. EVIL. Here Labine is merely the needy puppy, trying to woo Claire, until he finally gets to wig-out briefly during the film’s final act. The film has its share of villains conspiring to stop Darnell and company. The supremely gifted SNL current cast member Cecily Strong is given little to do as Claire’s new boss Dana. Dinklage wrings a few laughs as the pompous and effite Renault, especially when his martial arts obsessions provide a ludicrous final fight. Timothy Simons (another HBO vet from “Veep”) make a solid grinning servant who towers over his master, but the battle of the fawning syncophants might be won by the very funny Cedric Yarbrough as Darnell’s driver Tito, who shamelessly flatters her while disparaging Claire. The film’s most worthy adversary is the hysterical Anne Mumolo (co-writer of BRIDESMAIDS) as Daffodil parent Helen who’s unafraid to go nose-to-nose with Darnell in several altercations. It’s a funny fearless performance that matches McCarthy’s bravado. As for the rest of the cast, Anderson is an adorable heart-tugger, Kristen Schaal (A WALK IN THE WOODS) is the “PC” Daffodil leader easily steamrolled by Darnell, and Kathy Bates (another TAMMY co-star) has a brief cameo as Darnell’s mentor.

Speaking of TAMMY, this new vehicle is the better film, but some might consider this to be a perfect example of the old adage “damning with faint praise”. Falcone seems to be a more confident director, although he relies too often on characters speaking directly into the camera (perhaps to allow for more improv). He still lingers on reaction shots which contribute to the film’s sluggish length (along with all the slow motion on the big street smack-down). The main faults are in the script’s structure. When the one hour lull creeps in, an attempt at pathos sneaks in to try and make Darnell a more sympathetic character (she’s still that rejected lil’ girl watching another family speed away). It’s as though the screenplay lost its courage and wanted to smooth out Darnell’s rough edges in order to prep us for a feel good fade-out. And it doesn’t help that the film’s best jokes and gags have already been given away in the trailers and TV spots. The cartoonish caper climax seems out of place also (suddenly it’s OCEANS 14?). McCarthy’s best collaborator is still Paul Feig who truly plays to her great strengths while dividing up the laughs equally amongst her co-stars. There’s lots of great set pieces, but the story just looses its comic momentum as they bypass the funny bone for the heart strings. Though the script attempts to bind her, Melissa McCarthy remains a fractious force of nature as THE BOSS.

3 Out of 5