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Had the script shown drive and stuck to some kind of consistent through-line, the leading ladies’ characters and their eventual metamorphosis into a makeshift family would have been believable and warming to watch. Though it’s essentially a straight man/banana man relation, there was a freshness to it. Bell and McCarthy cozy right up to that dynamic, then fizzle out. The relationship that exists between Michelle and Claire reminds me, at times, of the Fey/Poehler one in 2008’s Baby Mama: you’ve got the hardworking type A who is tasked more or less with babysitting the recently spun-out type B.
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That’s my biggest gripe with the film: There’s a very clear lack of both confidence and commitment in the film’s script. It gets close enough to a sentiment, almost lands the final joke in a shtick, but doesn’t (or can’t seem to) follow through smoothly - or at all for that matter. The Boss, unfortunately, wasn’t strong enough to get the job done. However, the level to which her inherent talents and traits can shine comes down to the quality of the projects on which she is working. I think she’s absolutely fantastic at what she does, and she’s hilarious and down-to-earth off-screen as well. She’s got her success down to a science and it really, really works. And that’s not knocking McCarthy as an actress or human being. She takes on a moderately formulaic role as head honcho and money mogul Michelle Darnell, a complicated woman with a dirty mouth, an inflated sense of self-importance and an apparent lack of empathy. There’s a method to the McCarthy “madness,” she has the acting chops to show that the otherwise bull-headed and brazen characters she’s playing can be (and usually are in the third act) emotionally invested, poignant and softer around the edges.
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Melissa McCarthy’s newest addition to her comedic canon comes in the form of the safe, mildly satisfying, The Boss.
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