Designed and built strictly for family audiences, The Boss Baby: Family Business pumps out a steady stream of jokes, wisecracks, and cultural references in a boldly frank endeavor to appeal to both parents and their pre-teen children (but no real-life babies).
The sequel to The Boss Baby (2017) requires absolutely no knowledge of the first film, since the premise remains the same: babies are far more intelligent that their parents will ever know. The sequel reheats the same tropes as before, while obeying a surefire rule for all subsequent installments of films that earn a multiple returns on the studio’s investment: add even more characters, doing the same kind of thing.
The titular baby was introduced originally as the younger, infant, suit-wearing brother of putative hero Tim. Subsequently it was revealed that he had an adult mind, thanks to a secret formula that enabled him to serve as a secret agent for a mysterious company.
Tweaking the premise a bit, the sequel finds Tim (James Marsden) and Ted (Alec Baldwin) all grown up and living separate and very different lives. Tim is married to Carol (Eva Longoria) and a stay-at-home dad to two daughters, Tabitha (Ariana Greenblatt) and her baby sister Tina (Amy Sedaris), while Ted is a fabulously successful single businessman.
An inciting incident brings Ted home to help out Tim, where they both discover that Tina is actually the new Boss Baby with a fresh new mission to go undercover and investigate a suspicious school started by Dr. Armstrong (Jeff Goldblum). That’s also where Tabitha already attends, and so Tim is eager to help out, hoping that he can learn why Tabitha has been drawing away from him recently, even after Tina explains that he will need to drink a new secret formulate that de-ages him into childhood.
Returning screenwriter Michael McCullers wrote the first film, adapted from a book by Marla Frazee, and his style of witticisms is clever and rapid-fire, as he demonstrated in his past. He is a Saturday Night Live veteran from the late 90s and has been writing live-action comedies like the Austin Powers movies and animated films starting with The Boss Baby. His script meshes well with the visual style developed by director Tom McGrath over the years in films such as Madagascar and Megamind and their sequels.
From its opening frames, The Boss Baby: Family Business never pretends to flesh out anything resembling real life. That’s not its intention. Instead, it wants to teach good solid family lessons, stretching that here to encompass good reminders for adults.
With its plethora of jokes and snappy pace, the film avoids the “sag” that is common to sequels, even though it spends a considerable amount of time on elaborate action sequences that don’t necessarily add to the story at all. It doesn’t present anything new or unexpected, but it does supplies a thirsty audience with a few cups of water on a parched day. That’s not bad at all.
The film opens in Dallas, Fort Worth and surrounding cities on July 2. It will also be available to stream on Peacock. For more information about the film, visit the official site.