Army Of Thieves

This review may contain spoilers!

Army Of Thieves is a prequel to Zack Snyder's Army Of The Dead, which also released this year. In this feature we look back at the life of Dieter and how he came to become the best safe-cracker possible for the zombie-infested Las Vegas caper. This film really serves itself strongly as a character piece, examining the character of Dieter and putting him through a trial of fire. Meeting Dieter, known initially as Sebastian, is a wonderful starting point; this is an outsider living a mundane life. But the thing about our protagonist is he has this passion for safe-cracking and the invention of safes. The pleasure I got from watching this film was watching as Dieter stumbled into the world of master safe-cracking, eventually getting plucked up into a gang of thieves. Seeing these robberies through the eyes of an inexperienced novice is exceedingly fun, especially as Dieter can be quite cowardly or unpredictable in conflict. However, those exquisite moments in front of the safes in which Dieter begins elegantly explaining the mythos behind each individual safe, relating these allegories back to the plot at hand, are just grand examples of good screenwriting. I was also really surprised and delighted by the score for the film; it has a very light and whimsical tone which fits well with our protagonist but contrasts some of the other moments it is set against in a pleasing way.

 

Ruby O. Fee, who played Korina, has a very dry and sarcastic wit that grows on you throughout the feature; she has a very relaxed and self-confident presence that makes her very easy to like. Guz Khan, who played Rolph, is an absolutely hilarious role with some of the best quickfire dialogue; Khan is extremely cocky and steals the scene in those lighter moments.

However, the best performance came from lead performer, Matthias Schweighöfer, who played Dieter. There is little surprise that Schweighöfer stands out in this film as he is notorious for stealing the show in Army Of The Dead. But what I really wanted to know was how well he'd manage leading the action, which he is more than capable of. In this feature we meet a Dieter who seems out of touch with the life that he lives, he really yearns for something more meaningful or thrilling. When given this opportunity he stumbles his way into it but also grabs at it with certainty, proving to be an adept safe-cracker. I love seeing Schweighöfer really unleashing the bulk of comedic dialogue while also squealing or nervously negotiating his way through the more dangerous scenes. Yet the reason I loved this performance again so very much is how gently and elegantly Schweighöfer presents his monologues in front of the safes. These detailed speeches in which he describes the individual myths behind the Wagner safes with something akin to reverence is powerful, by far my favourite aspect of this prequel.

The problem with Army Of Thieves is that it really falls apart when the feature doesn't focus on Dieter. In fact, the main storyline of cracking 3 safes in 3 days is pretty cut and dry; playing out a very generic heist storyline with classic heist characters. The film even makes a few self-referencing jokes about the heist genre, almost like it knew how closely it was sticking to the mark. To break things down a lot of tropes are utilised such as characters who fill specific roles/jobs and nothing more, a heist being discussed and then acted out as it is narrated and even the classic double cross subplot. I also think the film had a very poor way of conveying exposition, with characters always narrating their backstory in the space of a scene. The romantic subplot for the feature wasn't very well told; the relationship felt one sided, especially because most of Gwendoline's thoughts and backstory we get from the perspective of Dieter's narration. Linking with Army Of The Dead by having Dieter experiencing nightmares of zombies was a pretty loose link and it felt jarring in relation to the rest of the story. The cinematography feels quite simple for such an action-heavy feature, a lot of the framing feels like its purpose is function rather than style. The editing sets some strange transitions that don't link well to one another, the title cards for main characters as they were introduced was also an awkward link back to Army Of The Dead's style.

 

Nathalie Emmanuel, who played Gwendoline, has this very stoic and serious thief leader role that she never lends much depth to; I also found that Emmanuel really puts nothing into the onscreen relationship that develops between her and Schweighöfer. Stuart Martin, who played Brad, is probably the most stereotypical of our 'army' of thieves; Martin is the musclebound man with a gun who's entire dialogue bounces from threats to testosterone-fuelled quips. Jonathan Cohen, who played Delacroix, has to be one of the most camp antagonists the film could've asked for; Cohen's role is entirely motivated by a vendetta that one of the robbers shot him in the butt, so that paints a picture. Noémie Nakai, who played Beatrix, has her work cut out for trying to do the straight man to the inconsistent performance from Cohen; I felt Nakai had potential but floundered with an overtly serious role in a comedic setting.

This isn't the best heist film but it is a significantly better watch than Army Of The Dead. I would give Army Of Thieves a 6/10.

Ron's Gone Wrong

This review may contain spoilers!

Ron's Gone Wrong  is an animated feature detailing a world much like our own, specifically revolving around the latest technological craze: the B-Bot. The B-Bots imprint on their users and utilise an algorithm to connect with your interests, enhance your life and help you make friends compatible with you; they're the 'ultimate buddy'. However, our main protagonist Barney isn't able to afford a B-Bot and becomes an outsider; until his family gifts him a damaged B-Bot named Ron. This is a film with some direct and rather mature jokes about Apple, advertising algorithms and how poverty alienates people from trends and social acceptance. I actually really appreciated these rather insightful observations and methods of dealing humour; they rang with a sense of truth and actually felt like a family film about technology tat had some genuine reflection of reality. I also really liked the relationship steadily built up between Ron and Barney, it was a nice demonstration in what we need from others but also what others need from us in a true friendship.

 

Jack Dylan Grazer, who voiced Barney, has been doing amazingly with his leading roles the past few years; Grazer's depiction of an outsider yearning to connect with others and have a real friend is really sweet. Ed Helms, who voiced Graham, is such a gentle and relatable paternal figure; the way Helms presents Graham as a father who is struggling and lacking self-confidence but doing the best by his son is incredible. Rob Delaney, who voiced Andrew, is kind of perfect as this evil parody of Steve Jobs; I liked the brash way Delaney cut corners and breached rules for the sake of his own greed. Kylie Cantrall, who voiced Savannah, was a very charming character who went on a nice sub-plot arc; Cantrall presents Savannah as someone obsessed with image yet this slowly changes as she becomes more involved in the world immediately around her.

However, the best performance came from Zach Galifianakis, who voiced Ron. This character is so abundantly full of energy, he absorbs your focus and really dominates every scene. Galifianakis really leans into his comedic roots with the character, delivering some hysterical lines and crafting Ron to be an impulsive character. I found Ron such a wonderful role because he starts out as this entirely stupid blank slate, he's a real goofball character. But the charm of Ron is seeing how Galifianakis moulds Ron and develops this caring, friendly personality; fully fleshing him out into a three-dimensional role is stunning. This is a simply wonderful character who I think really steals the show.

There have been a real surge in buddy robot films lately that have done their stories rather well; my mind immediately went to Big Hero 6, Next Gen and The Mitchells Vs. The Machines while watching this. In a lot of ways these family friendly animated sci-fi features are a great way to talk about our evolving modern world and help children understand the relationship technology has with everyday life. So when I sat down watching Ron's Gone Wrong I found myself initially struck by the charm of seeing Barney and Ron together as friends, but the further it went I found the film losing its appeal. I'd seen this story done before (or at least elements of it), and I'd seen it done better. This film has a nice critique of how technology impacts our relationships with one another; but its ultimate message of a better way to make friends is a little ambiguous. The film really only comes alive when we see Barney and Ron interacting, a number of the side characters are linked very loosely back to Barney with no interesting examination of how they relate to one another. The final act in which our heroes break into Bubble HQ to steal Ron back feels like an entirely different film to the one I had been watching; it felt like an action sequence had been pushed in to liven things up. I really felt like this ending unravelled some of the hard work done in earlier acts. The animation wasn't very appealing, the design of the B-Bots especially struck me as incredibly simple. Both the score and soundtrack for this feature didn't stay with me, it felt like an aimless peppy series of tracks for a generic animated feature with little love behind it.

Olivia Colman, who voiced Donka, hasn't really done a performance I've disliked until now; but Colman's over the top approach to an Eastern-European accent and character is a bit much. Justice Smith, who voiced Marc, never strikes you as the big tech genius behind a multi-billion dollar company; in fact the heart on his sleeve presentation by Smith is quite two-dimensional and means he gets dwarfed by Delaney. Ricardo Hurtado, who voiced Rich, is pretty dull as the classic bully character; Hurtado's portrayal of vanity and a desire of fame don't make him very engaging as an early act antagonist.

A film with a lot of charm and a nice theme that struggles to do anything truly unique. I would give Ron's Gone Wrong a 6/10.

 

The Harder They Fall

This review may contain spoilers!

 

The Harder They Fall is a western revolving around a good-natured outlaw seeking revenge for the murder of his parents by the infamous Rufus Buck. This is the film that the Western genre has been waiting for, it pays homage to some of the classic elements that have come before it while paving the way for the future of this genre. I loved seeing the contrast between the 'good' outlaws who robbed from outlaw gangs and the ruthless Rufus Buck Gang who ran the West like a tyrant. Seeing Nate Love lead his gang and struggle between his desire to settle down or get his revenge on Buck is one of the great driving conflicts of the feature. This is a film that does not shy away from sudden random acts of violence and that only adds to the tension behind a very revenge-driven plot. I was so very impressed with the cast of characters who each felt like the legendary characters you would read about in Wild West tales. This film has some of the great plot elements of any classic Western; saloon standoffs, pistol duels, heists and train robberies. But working in tandem with these classic story elements, is a fresh means of production that really sets this apart from any Western I've seen in a long time. The cinematography is absolutely stunning, any one scene or sequence is shot with variety and intensity in mind always. But the way this film shoots dialogue is bold, with wide mid-shots that feel almost like stage theatre in nature. The editing for The Harder They Fall is impressive and part of what makes this feature so very well co-ordinated, there are also some brilliant nods to classic old school 35mm film through editing techniques. The soundtrack and score for the feature is one of the best for the year; this is a unique example of music being deployed for that intensity a Western film holds while celebrating the African-American voice behind this film and bringing a taste of the now.

 

Idris Elba, who played Rufus Buck, is a truly imposing antagonist who dominates the screen; Elba exudes menace with just a glance and commands those he leads in much the same way. Zazie Beetz, who played Stagecoach Mary, has so much chemistry with Majors in their entwined and dangerous romance; yet Beetz also constructs a tough enterprising woman who takes no nonsense and fights her own battles. Regina King, who played Trudy Smith, is a stern lieutenant to the main antagonist; King is a diehard loyalist but seems haunted by a rough and bitter past. Jonathan Majors, who played Nat Love, is an excellent protagonist and leads the film with a metric ton of charisma; Majors smooth-talking manner coupled with an intense determination to fulfil his need for revenge makes Love a fascinating watch. Edi Gathegi, who played Bill Pickett, is the dry wit of the outlaws we follow; His sarcastic comments and quiet support makes for a nice performance. Delroy Lindo, who played Bass Reeves, is hard as nails in this feature; Lindo's stoic U.S. marshall is a lawman who fiercely guards his ideals for justice. Danielle Deadwyler, who played Cuffee, has a lot of fight in her geared at ayone who wears her the wrong way; Deadwyler plays a very gender-neutral character which I found really interesting. RJ Cyler, who played Jim Beckworth, is hilarious as the wise-cracking quick draw of the outlaws; Cyler really plays up the showboating his role puts on to deadly effect. Deon Cole, who played Wiley Escoe, is a real two-faced character who talks a bigger game than he can deliver; Cole plays a tragic scorned figure exceptionally well.

However, the best performance came from LaKeith Stanfield, who played Cherokee Bill. This character was very enigmatic while also being highly charismatic and proficient. When first we meet Stanfield he effortlessly breezes through an armed hostage situation, at once soothing the crowd while dealing them honeyed threats. Yet there is something grim in Cherokee Bill, a coldness towards murder and violence that reveals just how very good he is at this act. Indeed, the way Stanfield plays disdain for killing while coldly shooting opponents in the back before they can react is staggering. Bill is a figure who is never impressed by much and he moves to Buck's side like a loyal right hand, a cold yet dependable confidant. Cherokee Bill isn't the biggest role Stanfield has ever done but it is an immediate favourite of mine.

I think some people watching this feature will find the main storyline to be somewhat predictable, the way everything plays out very rarely leaves room for surprise. This is a film that colours brilliantly within the lines, but doesn't pen too many surprising elements.

The Western genre hasn't even dreamed of being this good in decades. I would give The Harder They Fall a 9/10.

 

Night Teeth

This review may contain spoilers!

 

Night Teeth follows Benny, a young college student doing his level best to make ends meet for him and his Abuela. However, his life is shaken up when his half-brother lets him drive a company limousine for an evening and the clients turn out to be two vampires bent on a series of criminal hits. Now Benny is caught hostage between a vampire feud and his stalwart vampire-hunter half-brother. I think this film explores the idea of this very ordinary individual entering the world of the strange and supernatural rather well. Watching Benny slowly unravel the mystery behind the women he's transporting, and discovering the ancient societies that govern LA from the shadows is rather intriguing to watch. I found the cinematography to be a rather consistent feat that impressed, a very colourful blend of neo-noir and supernatural thriller captured through the lens. The soundtrack for the feature has a real indie hip hop vibe which gives a few key scenes some weight.

 

Alfie Allen, who played Victor, actually feels like a classically powerful and sinister vampire; Allen has this real menace about him that he deploys well and you can feel him manipulate the power in a scene to his favour.

 

However, the best performance came from Lucy Fry, who played Zoe. This performance was the stand out feature of the film and easily my favourite part. Fry plays this 200 year old unhinged sociopath of a vampire, who is at times noble and others violently unpredictable. The way this character begins by coyly teasing and making fun of Benny, peppering with a light verbal assault really pulls your interest. Fry does a great job of hinting at there being more under the skin, which she explosively gets to build up to revealing. I liked how fun Zoe was, her insanity and completely off the wall dialogue made her such a wild role to watch. Fry would move through a scene and look like she was having the time of her life, owning the frame. She really made you want to like Zoe without hiding any of the merciless and wanton violence that stems from this character. Lucy Fry is the reason to watch Night Teeth.

 

I got an understanding where this film would go wrong the minute that opening narration started hitting me with the world-building exposition monologue. Night Teeth (and many other vampire films) tends to suffer from a supernatural world that doesn't really feel fully realised. There is some general idea of concept but the execution is rather empty and filled with holes. This idea of greater LA being carved up by vampire clans except for one neighbourhood run by vampire hunters is really as deep as the thinking goes here. You never understand the significance of the vampires and why they've divided into these mob-like ruling families. Any time the film cut to Victor exacting his 'grand plan' I couldn't help but feel a little bored; even more so when Jay and the vampire hunters got involved. The character of Benny feels like a strange central protagonist just because his personality goes through very spontaneous changes. Early in the film he is that awkward stammering young man with a very naive view of the world, but later he is strangely the shy wannabe music producer who the undead vampire is utterly enraptured by. But the end of the film really drives the point home, Benny becomes this unwaveringly confident figure who makes sexual advances and launches into action sequences. The whole feature feels like it wants to be a power fantasy at times, which is more than a little shallow. The fact that a film like this has such a complete lack of fight scenes seems surprising, but when you see a lot of the poorly choreographed edge/back of frame fighting you begin to join the dots. The special effects share the symptoms here, watching a character heal a bullet wound in their head is rather poorly done and the disintegration of the vampire roles has been done better in TV shows.

Jorge Lendeborg Jr., who played Benny, gives a very scattered performance which is the last thing you want from a leading protagonist; Lendeborg Jr. plays different emotions for different scenes but never manages a cohesive character. Debby Ryan, who played Blaire, is very obviosl placed in this movie to be a romantic love interest and she plays up to the fact; but Ryan lacks the gravitas required to be this imposing vampire figure so it is impossible to believe the contrast the film is trying to achieve with her role. Raúl Castillo, who played Jay, is one of the least grounded roles in the film; Castillo takes the stoic vampire hunter way too seriously in a film that very rarely tries to achieve a serious tone. Marlene Forte, who played Abuela, is te rather generic parental figure for the film; Forte really plays a very two-dimensional role and has no special connection with her onscreen children. Megan Fox and Sydney Sweeney, who played Grace and Eva respectively, are big names for the posters because they are barely cameos in this; I think there is something underwhelming about having a coup overthrowing Fox and Sweeney without showing any action. Alexander Ludwig, who played Rocko, is really such a bizarre performance that helped make the final act a real fizzle; Ludwig's choice to make Rocko this half-drunken/stoned character was weird and didn't really fit with the character being one of the vampire heads.

While there is some camp fun to be had this is another vampire flick with very little substance to it. I would give Night Teeth a 4/10.

 

No Time To Die

This review may contain spoilers!

 

No Time To Die follows a Bond who has left love and MI6 behind, living alone is isolation until the CIA pulls him back into an operation against remaining Spectre forces. However, there are more nefarious figures at play here and James Bond once again becomes deeply ensnared in a mission of global espionage. I loved aspects of watching Bond really grapple with his demons here, his lifetime of paranoia pushes his allies away and sets him apart. I actually liked how Bond couldn't let things like his desire to see Blofeld dead go, he is so unshakeable here that it becomes a film almost about his hubris. I most enjoyed seeing moments that defy expectation: Safin saving Madeleine as a child, Spectre being eliminated, the CIA being infiltrated at the expense of Leiter or Valdo's triple-agent character. As always watching Bond wildly push ahead of his enemies like a one man army trying to keep those he cares about safe marks this as a classic Bond feature. The cinematography throughout shows the grand scope realised for this particular Bond outing, in particular the unique settings and immense action sequences are extremely well framed and captured. The actions sequences here are some of the best a Bond film could have to offer, toting consistently well-choreographed shoot outs, fight sequences or car chases. The score for the film embraces all the classic energy of a Bond film and places these tracks perfectly.

 

Daniel Craig, who played James Bond, has lived with this role for a long time now and performs it brilliantly; Craig has a calm reserve and a sense of charisma that has always served him well as the super spy. Rami Malek, who played Lyutsifer Safin, is one of those rare brilliant instances where a talented performer outshines a poorly written character; Malek crafts a figure who comes from a dark background and has been fundamentally altered by one moment that defied his character. Ralph Fiennes, who played M, really impresses as an M who is more servile to the needs of his government and nation; Fiennes really seems burdened in this film by the consequences of his own actions and the choice to play by the book or not. Ben Whishaw, who played Q, has always been absolutely perfect casting for this role; seeing Whishaw reluctantly get dragged back into an adventure in which he peddles technical jargon with ease is a joy to watch. Jeffrey Wright, who played Felix Leiter, brings a very worthy final outing in this feature; Wright plays to the more jaded and seasoned aspects of his character which works really well for that final scene with him and Craig. Billy Magnussen, who played Logan Ash, is quite a strong minor antagonist for the film who plays quite the slimy corrupt figure; at first Magnussen seems like a comedic naive political role which makes the twist of his true role all the better. David Dencik, who played Valdo Obruchev, is one of those unique characters that sometimes standout in a Bond film; Dencik's somewhat bumbling triple agent is quite a bit of fun to watch as he is never the most domineering figure in a room often filled with intimidating figures.

 

However, the best performance came from Ana de Armas, who played Paloma. This was an astoundingly significant pick given de Armas was only present in the film for a couple of scenes. Paloma is brilliant fun and one of those roles that works so well in a Bond film. From the moment we first meet her de Armas is disarmingly light and bubbly, very eager and not at all the stoic professional we see from other intelligence characters. She nervously chats and makes quick notes about her length of training, giving her a real rookie feeling. But as the film progresses and she efficiently cases a room and holds her own in a gunfight brilliantly, it is hard not to become just as impressed as Bond is with this surprisingly highly capable talent. I'd love to see more of Ana de Armas in future Bond films, better yet her own spinoff.

 

No Time To Die is a staggeringly good Bond film for the first third of the feature, but the rest is just okay and I find that a shame. This film spends a lot of time tying up loose ends from Spectre while really quickly constructing a two-dimensional antagonist for Bond to take out this time around. The big thing to fear this time around is a bio-mechanical virus called Project: Heracles in which the virus can target specific DNA to kill certain targets. Watching the film reveal that M is behind Heracles is such a dull twist; but more than that, the virus is a rather thinly constructed narrative weapon. Pair this virus with Safin, a bad guy who wants to poison the world to restore order or something strangely similar. This villain's only real character trait is that he chose to save Madeleine's life rather than kill her as a child, but this is never explored in a satisfying way. So as the film veers more and more towards Safin, the film fails to hold interest. Worse than this Bond's entire character arc this film is his awkward relationship with Madeleine, whom he breaks up with at the start of the film and is then forced to work with later. Watching Bond walk over egg shells for the sake of love and pretty much sacrifice his own life by the end of the film because he can no longer actively participate in the relationship is rather corny. Overall the film doesn't feel like a final satisfying moment for Daniel Craig's Bond, there is a moment of finality but it rings hollow. The opening song for this film has been the worst of all the latest Bond films, Billie Eilish significantly lacks the gravitas required for an impactful opening number.

Léa Seydoux, who played Madeleine, just has no chemistry with Craig at all and is an unfortunate result of Spectre; Seydoux plays morose very well but her moments of tension, conflict or joy show her distinct lack of range. Lashana Lynch, who played Nomi, is a role I thought I might like at first but the film woefully failed to explore the character; I swiftly grew tired of the same comedic rivalry between her and Bond culminating in a very awkward return of an iconic title. Naomie Harris, who played Moneypenny, has been strongly shunted into the background this time around; Harris has no real sense of participation in any of the important events of this film. Rory Kinnear, who played Tanner, is doing possibly less than Harris despite having equal screen time; Kinnear just peddles dialogue with Fiennes when needed but does little as a character. Christoph Waltz, who played Blofeld, is one of the worst things to have come from the Craig era of James Bond; bringing Waltz back to mumble and mutter pretty shallow dialogue did nothing but drum in how poor Spectre was. Lisa-Dorah Sonnet, who played Mathilde, isn't a strong young performer; Sonnet doesn't always display correct responses for the nature of the scenes and certainly struggles to convey convincing emotion.

No Time To Die is a step up from Spectre, but still a far cry from a strong send off for Daniel Craig's Bond. I would give No Time To Die a 6.5/10.

 

The Boss Baby: Family Business

 This review may contain spoilers!

 

The Boss Baby: Family Business is the sequel to 2017's The Boss Baby, and sees our two protagonists back for another world-saving mission on behalf of Baby Corp. Tim is now a stay at home dad with a massive inner child, struggling to connect with his more academically minded eldest daughter. Meanwhile, Ted has become a massive business tycoon, though very much a man alone from anyone else. When Tim's baby daughter reveals herself to be a member of Baby Corp on a world saving mission, she reverts her Dad and uncle back to their younger selves in order to to go undercover and stop the threat. The best aspect of this film is the relationship between Tim and Ted, watching them bond as family again and realise how much they need one another was pretty heartwarming.

 

Alec Baldwin, who voiced Boss Baby, is far more entertaining in this feature than he was in the first; Baldwin really embraces the comedic angle of the character this around which I think is where his character always thrives. Ariana Greenblatt, who voiced Tabitha, is a young performer well and truly making her mark across big Hollywood productions; I found Greenblatt's portrayal of childhood insecurity to be very heartfelt and honest. James McGrath, who voiced Wizzie, was one of the greatest things about the first feature and I was pleased to see him return; McGrath's parody of iconic wizards like Gandalf is enhanced this time by him portraying a childhood toy feeling scorned too.

However, the best performance came from Jeff Goldblum, who voiced Dr. Armstrong. This might not have been the most committed performance from Goldblum but he was clearly having a bunch of fun. This boundless fun turned into a lot of energy scene to scene, in which you get really varied and comedic line delivery. I greatly enjoyed how camp Goldblum made the big reveal that his character was in fact a super genius baby and not an adult. This was an antagonist who was exceptionally entertaining any moment he was onscreen, making him the immediate stand out role of the sequel.

 

The Boss Baby worked so well in no small part thanks to Alec Baldwin's wild performance as this strangely serious infant; yet the sequel pushes the character of the Ted into the background a bit. I can't truly imagine why a sequel would take the role everyone has come to see and reduce their screen time, it makes this an effort doomed to failure straight away. This film really doesn't know how to handle the wild antics of Baby Corp or the villainous Dr. Armstrong; making these moments as over the top and melodramatic as possible. Meanwhile, the main focus is on Tim (an adult who has reverted back to the physical age of a child)  trying to connect with his daughter. This is such a weird way to try and build a better father/daughter relationship and it certainly isn't strong enough to be the main focus of this film. In fact I found the father/daughter storyline to even get a little creepy sometimes, it was definitely a story that needed some more editing. The animation was atrocious and even the film had the gall to highlight this fact. There's a moment in the film in which Spirit: Stallion Of The Cimarron is playing in a theatre and our protagonist come crashing through the screen on the back of a pony; the contrast in quality is significantly notable and marks a real slump for Dreamworks as a studio. The score for the film is a simple adventure melody that is very forgettable, while the soundtrack is a real mixed bag of tracks for comedic effect that never really lands. 

James Marsden, who voiced Tim, continues the trend started by Tobey Maguire of this adult role really not landing well as a protagonist; Marsden just pushes things a bit too over the top and gets comfortable playing far wilder than some scenes demand. Amy Sedaris, who voiced Tina, is quite an abrupt figure from the minute she appears onscreen with no charm at all; Sedaris is meant to be the fun new mature baby role but she is pushed into the background even more than Baldwin. Eva Longoria, who voiced Carol, is quite the generic Mum character with a very two-dimensional personality focused on being the nurturing household figure; Longoria really has no strong presence in the film and is cut out of all major narrative beats practically. Jimmy Kimmel and Lisa Kudrow, who voiced Grandpa and Grandma respectively, return for the sequel and continue giving quite bland performances; the classic overly involved grandparent shtick gets played out quick and they almost seem to return to stretch out the runtime.

There's not a lot of charm here for any demographic; this is a sequel that was really rushed out the door. I would give The Boss Baby: Family Business a 2.5/10.