#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – A titan of industry is sent to prison after she’s caught insider trading. When she emerges ready to rebrand herself as America’s latest sweetheart, not everyone she screwed over is so quick to forgive and forget.
Plot: A titan of industry is sent to prison after she’s caught for insider trading. When she emerges ready to rebrand herself as America’s latest sweetheart, not everyone she screwed over is so quick to forgive and forget.
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|5.4/10 Votes: 42,949|
|5.8 Votes: 1062 Popularity: 16.149|
No doubt that actress Melissa McCarthy has become a pop cultural phenomenon within the last few years. She has hit the jackpot in a career gone on a whirlwind upswing. McCarthy has just ended a six-year run from her Emmy-winning turn on the popular CBS sitcom **Mike and Molly**. She was Oscar-nominated for her performance in **Bridesmaids**. She has made a slew of hit-and-miss comedies. Her hosting stints on the legendary **Saturday Night Live** are riotous. McCarthy is part of the much-talked about upcoming female version of the wildly treasured 80’s cult classic comedy **Ghostbusters**. Additionally, ardent fanatics of the 2000-2007 WB network TV series **Gilmore Girls** recently rejoiced when McCarthy agreed to join the Netflix revival show that previously endeared her to television audience years before. So yes…to say that Melissa McCarthy is on a continued roll with her ubiquitous presence in TV and movies is an understatement.
In McCarthy’s latest broad comedy **The Boss** she and her husband Ben Falcone (“Bridesmaids”) collaborate as they–along with Steve Mallory–co-wrote the script with Falcone taking over the directorial duties. In fact, both McCarthy and Falcone co-wrote the 2014 vehicle **Tammy** starring McCarthy with Falcone in the director’s chair as well. So it is a relief to see how this Hollywood couple bond creatively over their film projects. However, it is not all that encouraging that the Falcones have subsided over generic laughfests.
On the surface **The Boss** could be perceived as a wacky female empowerment romp but dig deeper and this lackluster comedy has all the one-note comical deepness of a frizzled Phyllis Diller wig. McCarthy plays the brash and blistery Michelle Darnell, a Martha Stewart-esque CEO financial wizard with a convincing pretty penny that makes up her unbelievable fortune. In fact, Michelle happens to be the 47th wealthiest woman in America. Unfortunately, the law caught up with Michelle so now she is behind bars for inside trading.
After months of doing “hard time” (in reality “soft time” for the jailed demanding diva), Michelle is released where she learns of her frozen assets and diminutive ex-lover and rival entrepreneur Renault (Peter Dinklage) who has taken over her multi-million dollar companies. With nowhere to turn for support Michelle decides to intrude on her long-suffering former personal assistant Claire (Kristen Bell). The tolerant Claire is a single mother to 10-year old Rachel (Ella Anderson). As one can imagine the insufferable Michelle is a terror in poor Claire’s household with her bossy demeanor. Apparently Claire’s nastiness is just not reserved for Claire as she has plenty of scorn to go around for the ones who dare to step in her way.
Soon, Michelle discovers a way to get back into the capitalism game and recapture her status as a wealth-driven Wonder Woman. The agenda involves Rachel’s Dandelion troop as inspiration for Michelle scheming to recruit the outcast girls from the Dandelions (dubbed “Darnell’s Darlings) to sell the exceptional brownies based upon Claire’s crafty recipe. Naturally, Michelle is hard on the little gals to push her need for reaching success but in her own caring way she wants to educate the Darlings to become strong, independent future businesswomen armed with potential power and poise. With Michelle’s sad-sack backstory as a rejected little girl raised in a Catholic orphanage where many foster homes denied her existence it is clear that the seemingly cold and calculating Michelle does not want her hardship to be repeated in the group of girls she is grooming for the kill of conquering the business world.
**The Boss** has some slapstick moments that are passable and the always game McCarthy is willing to do what it takes to sell the zany goods to ensure the hefty chuckles. Playing hard-nose harlots such as the coarse Michelle Darnell is McCarthy’s specialty and she is effective when the material supports her tyrannical pushiness. However, **The Boss** feels lackluster because McCarthy’s sketchy bits are slight and the movie’s basic follow-the-dots lunacy is never on par with McCarthy’s bombastic business-minded bulldog. The movie feels cheaply lifted from the hybrid boundaries of 1989’s **Troop Beverly Hills** paired with 1988’s **Big Business.**
Thankfully, **The Boss** is not as tepid or forgettable as McCarthy’s other outings such as the aforementioned **Tammy** or **Identity Theft**. On the flip side, this toothless romp will never rub shoulders with the more acceptable McCarthy staples in **Bridesmaids**, **The Heat** or **Spy** either. In short, this particular **Boss** ought to be demoted to the unemployment line.
**The Boss** (2016)
Starring: Melissa McCarthy, Kristen Bell, Peter Dinklage, Ella Anderson, Kathy Bates, Tyler Labine
Directed by: Ben Falcone
MPAA Rating: R
Critic’s rating: ** stars (out of 4 stars)
(c) Frank Ochieng
> Use on opportunity, build an empire and be the boss!
I always liked Melissa McCarthy films when others said they were very bad, but this time it is totally different. I won’t blame her, she always gives her one hundred per cent and so for this film. But it was the terrible script that let her down. Actually, it is a watchable film, because of her, but without her completely unimaginable. The trailer looked much better than the film. It is a comedy, but the laughs are too far, not even a little smile in your face easy to obtain.
So it seems there are plenty of negatives about it than the good. I watched it to prove the people are wrong about it, but in the end I was wrong. This is the second time the director and McCarthy together for a film who are the real life couple. But I liked ‘Tammy’ better, not this one and there will be one more film that I hope they would come up with much more interesting than these two.
She is not a solo type star, her films are always the multistarrer. So whenever I hear about her new films, I get curious about her new partner. Kristen Bell was not bad, even Peter Dinklage have given a nice performance. So The casting was good, but they all did not get the good script or the role. I did not enjoy it means not that I won’t recommend it. It did not work for me, but it might to you, so I advise be carefully while choosing it.
These Brownies are Burnt
I really hate it when bad movies happen to good people. Despite bursting onto the entertainment scene with a killer supporting role in Bridesmaids (2011) and a star turn in Mike & Molly (2010- present), Melissa McCarthy has struggled to find material truly worthy of her talent. She’s a reliable box office draw and can be trusted to perform exceptionally well with an assortment of interesting characters so why is she constantly being saddled with wafer-thin plots, broad and boring scripts and paint-by-numbers directorial choices? Is it pride; risk aversion; nepotism?
The Boss is the story of Michelle Darnell (McCarthy) a larger-than- life business tycoon, who looses it all for insider trading and is forced to start from the bottom once more. Armed only with a mega- maniacal ego and aided by her former assistant turned partner Claire (Bell), Darnell desperately tries to claw her way up to the top of Chicago’s industry professionals. Undermining her at every turn however, are a multitude of former colleagues and competition who will stop at nothing to keep her at bay. Her most nefarious foe is Renault (Dinklage) a former lover whose obsession with Darnell is rivaled only by his obsession with the ways of the Samurai.
McCarthy (predictably) does a stellar job channeling her inner Trump. The story begins with Darnell as a young girl being dropped off a number of times by would-be adoptive parents which, while being a lazy setup does give the audience a reference point in which to pin our aspirations. McCarthy takes that baton and runs with it; fleshing out the broadly drawn character into one you could imagine exists in real life. You’re never made privy as to why everyone hates her and abandons her (other than Renault) though I suppose one could gleam such insights by her unofficial motto “Family is for suckers.” Also despite once again being a lazy setup, the emotional payoff by the end isn’t exactly deserved, but thanks to McCarthy’s sensitivity she at least saves it from being offensively ham-fisted.
One can’t help but think there was a much better comedy left on the cutting room floor here. There are extended moments of improvisation that go no where, and could have been sacrificed for the sake of filling in plot-lines that are dropped or disappear into the ether. One particular plot-line surreptitiously involves Kathy Bates as Darnell’s former sensei Ida Marquette who despises her but we never find out why. You’d think with two very talented actresses a moment of catharsis could have been captured on film but instead we get five minutes of McCarthy and Cedric Yarbrough taunting Claire for being the smartest gal in the room.
Speaking of Kristen Bell; the former Veronica Mars (2004-2007) star plays a variation of the nagging, humorless, smarter-than-thou wife we’ve seen in hundreds in sitcoms and comedic vehicles. Her character is so irredeemably oppressive and boring that when Claire and Darnell have the third act falling out we all know is coming, I was less worried about what would happen to her than I was about why no one was standing in front of Chicago’s Cloud Gate sculpture during the film’s wistful montage. Her character arc completes itself with a budding romance with Mike (Labine) that was neither interesting nor convincing.
Yet despite all it’s faults, the movie achieves what it set out to achieve, that is to say it makes it’s audience laugh and laugh often. This is largely accomplished on the strength of bawdy R-rated humor and McCarthy’s shrewd comic timing. Peter Dinklage, who gives a particularly daffy performance, has a lot of fun riffing, joking and tumbling with McCarthy, thus saving the film’s third act contrivance from completely ruining the movie. The Boss is certainly not worth the price of admission unless you’re already a fan of Melissa McCarthy. Yet for those already annoyed by her shenanigans, The Boss is just further confirmation that she’s simply playing to the Plebes.
The Queen of Crass and Crude goes to the Nth Degree
Melissa McCarthy has made a deserved name for her crassness and crudeness. I found her raw humor in Bridesmaids and The Heat to be extremely entertaining. But this movie, which presents her as a businesswoman in the mold of Martha Stewart, does her a disservice. What set McCarthy apart in the movies where she shines is that she’s the one being crass and crude, surrounded by more normal people who make her stand out. In this movie, everyone seems to be trying to be just as crass and crude, if not more so, including the numerous girls playing Girl-Scout-like cookie sellers who get into a street brawl over cookie-selling territory. Poorly written movie. Not funny. Despite that, the movie is doing well in the box office. It’s hard to imagine the audiences for this. Too crude to take kids. Not enough adult humor for adults.
Original Language en
Runtime 1 hr 39 min (99 min), 1 hr 44 min (104 min) (unrated)
Director Ben Falcone
Writer Melissa McCarthy, Ben Falcone, Steve Mallory
Actors Melissa McCarthy, Kristen Bell, Peter Dinklage, Ella Anderson
Awards 3 nominations.
Production Company On the Day, Gary Sanchez Productions
Sound Mix Dolby Digital, Datasat
Aspect Ratio 1.85 : 1
Camera Arri Alexa 65, Arri Prime 65 Lenses (some scenes), Arri Alexa XT, Leitz SUMMILUX-C Lenses
Laboratory EC3 (digital dailies), EFilm (digital intermediate)
Film Length N/A
Negative Format Codex
Cinematographic Process ARRIRAW (2.8K) (source format), ARRIRAW (5.1K) (source format) (some scenes), Digital Intermediate (2K) (master format)
Printed Film Format D-Cinema