The Boss Baby (2017)

The critic finds the film a delightful, clever, and tender animated comedy. Baldwin’s commanding voice performance and the animation’s nostalgic visual style stand out for praise.

Turner finds the film witty, delightful and inventive, praising its appeal as a family comedy despite its silly premise. He singles out Alec Baldwin’s pitch-perfect voice performance and the steady stream of verbal and visual gags.

Yoshida finds the film an unusually incisive political metaphor for Trump-era America. She singles out the Boss Baby’s corporate behavior and the puppies-versus-babies attention economy as especially sharp satire.

The page identifies this as a review, but its verdict is not visible in the accessible text. The standfirst notes Alec Baldwin voices the title character and calls him vaguely Trump-ish.

The page could not be read, so the critic’s verdict is unavailable. No specific praise or complaint can be verified from the accessible content.

Rife finds the film clever at first but increasingly exhausting and manic as it expands beyond its sibling rivalry premise. She praises the emotionally effective opening and lovely animation, while criticizing the later chase sequences and crude humor.

Staunton calls it a wild and witty animation for all the family. He singles out its unlikely, suit-wearing baby hero as a source of pre-teen laughs.

Hans finds the comedy overcomplicated and its jokes one-note, though she admits it made her laugh. She singles out the colorful fantasy sequences and Alec Baldwin’s vocal performance as potential pleasures.

Lemire finds the film more irritating than amusing. She singles out its strained jokes as a particular weakness.

Gleiberman finds the film amusing in bursts but overcomplicated and tiresome overall. He praises Alec Baldwin’s comic voice performance and the animation, while faulting the story for reaching toward emotional depth without earning it.

Freer finds the film energetic but ultimately ineffective, with little humor or emotional heft. He praises its visual panache and singles out an exciting garden chase.

The review finds the cartoon cutesy but boring. It criticizes the convoluted existentialist narrative for leading nowhere.

Henderson pans the film as a polished, soulless and calculated misfire. He singles out its premise about love as a limited resource as revealing the story’s crass worldview.

Chang finds the film sour, strained and short on imagination. He praises Alec Baldwin’s voice performance but says it cannot rescue the movie’s lazy, half-baked script.

Hammond finds the film wildly funny, original and entertaining for audiences of all ages. He especially praises Alec Baldwin’s comic timing and the film’s frenetic pace.

The critic gives the film an enthusiastic verdict, calling it a laughathon. They single out the hilarious script and the animation’s expressive lip-and-eye treatment for praise.

The review finds the film charming but held back by a weak, formulaic plot and jokes that wear thin. It praises the colorful animation, Hans Zimmer’s score, and Alec Baldwin’s performance.

Brew finds the film fun and funny, though not a vintage work and weaker once its broader plot takes over. He praises McGrath’s comedic touch and the film’s playful animation and visual style.

The critic finds the film enjoyable but says its formulaic plot overwhelms its best qualities. They praise its sly wit, retro visual style, and the warm rapport between the two brothers.

Oller gives the film a strongly negative verdict, finding its comedy and emotional development ineffective. He particularly criticizes its convoluted plot and muddy-looking 3-D animation.

The critic finds the film an unfunny, middling kids’ movie that quickly wears out its welcome. Alec Baldwin’s voice work and the inventive baby-factory premise offer some initial amusement, but both grow tiresome after about 30 minutes.