Like Jonathan Winters, Chris Farley, early Steve Martin and Robin Williams, she shines when disrupting order-when unthinkable desires suddenly seize her characters, or unacceptable thoughts make their way from their brains and express themselves as uncalled-for, bizarre or hurtful observations. She's the kind of actor who can crash through a wall spouting gibberish and make you believe that it's something that a person might actually do. McCarthy is a brilliant physical comic, in a particular mode: id-monster, reptilian brain clowning. If that description were the main motor driving "The Boss" it might've at least had some zing. The rest, you can live without.I said up top that Melissa McCarthy plays a disgraced businesswoman trying to re-invent herself. (She even manages to wrangle a genuine laugh from a silly sofa bed bit that, when later repeated, reveals how meh the joke actually is.) And she shares an easy chemistry with Bell, who also delivers on a half-baked role.īut here's the bad: The characters are underdeveloped and underwritten a prison subplot that sounds promising goes nowhere (and is strangely unexplored, comedy-wise) and there are so many holes in the remaining storyline that you have to wonder what happened in the process of filming. First, the good: McCarthy is simply fun to watch, and she almost makes you forget that the plot's so thin because she's so effortless in her comedy. It taps into McCarthy's patented sass but ultimately fails to deliver because a) it dilutes her comic powers with superficial storytelling and odd pacing and b) it peppers bracingly refreshing moments with tired, old jokes. If it's possible to be disappointed in and delighted by a movie simultaneously, then The Boss delivers.
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