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)

Universal Pictures

99 mins.

Starring: Melissa McCarthy, Kristen Bell, Peter Dinklage, Ella Anderson, Kathy Bates, Tyler Labine

Directed by: Ben Falcone

MPAA Rating: R

Genre: Comedy

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.

3/10

The problem with modern comedies is, well, most just aren’t funny. They take ridiculous, over-the-top situations (which is not entirely bad unto itself), but add a healthy dose of violence, profanity and toilet humor. In the case of a self-parody or genre-bending tale like “This Is the End,” these ingredients usually work; for something like “21 and Over,” or “Ted 2,” among many others, it fails completely. That’s why it was a nice change of pace to finally see something that works — well most of the time — and finally gives a little vindication to Melissa McCarthy (whose recent resume of “Identity Thief,” “Tammy” and “Spy” did not exactly impress the Humor Gods).
The Boss features the Rubenesque actress who was once nominated for an Academy Award (look it up if you doubt my veracity) as a business mogul, financial wizard and media whore who changes her ways — sort of — when faced with a situation she cannot handle and shows she can bring out the fun and vulgarity of her selfish character, as well as the pathos necessary to make us feel anything for the role.
And while McCarthy is fine here, the picture would really be nothing without stellar supporting work, including Kristen Bell (“Veronica Mars”), Peter Dinklage (“Pixels,” but better known for “Game of Thrones” TV series), Tyler Labine (“Tucker and Dale vs. Evil”), Cedric Yarbrough (“The Goldbergs” TV series) and moppet Ella Anderson (“The Possession of Michael King”). Utilizing a screenplay by McCarthy and old friend Steve Mallory and husband Ben Falcone (who also directed), the cast goes with it as far as possible, and, in this case, that’s about an hour and-a-half (which is almost the running time of this enterprise).
More like a deranged version of the 1989 Shelley Long vehicle, “Troop Beverly Hills” than any recent film we could remember, and then crossed with “Get Hard,” the plot of The Boss has McCarthy as Michelle Darnell, a hopeless orphan raised in a run-down Catholic convent. The opening scene of her being returned to the venue after five years (accompanied by a popular song from that era) by disappointed prospective adoptive parents is funny, but a little sad at the same time (“What’s wrong with me?,” she wails to an exasperated Sister).
We soon find out as years later, Michelle becomes a superstar investor and businesswoman (think Martha Stewart without the loving disposition or Donald Trump without the charm, charisma and diplomacy) who commands thousands of people at her money-marketing seminars, complete with screaming crowds, flashy pyrotechnics and horrible rap (is there any other kind?).
Movie fans worth their salt, however, know that this kind of extravagant lifestyle cannot last and, after denying her faithful and under-appreciated assistant, Claire (Bell), a well-deserved raise, she finds herself arrested for insider trading. This is thanks to zoned-out former boyfriend, Ronald (Dinklage), who now calls himself, “Renault.”
After five months in a very low security facility, Michelle finds her home, property and assets seized, and her reputation destroyed. It’s so bad, she cannot even get a deal with Michael McDonald (not the old Doobie Brothers vocalist, but the guy who used to play “Stuart” on “MadTV”). Homeless, she tracks down Claire and guilts her into letting her stay with her and daughter, Rachel (Anderson). Of course, Michelle and the little girl form a bond and when the subject of cookie sales comes up at a “Dandilions” meeting (fictional Girl Scouts), the former business queen has a idea to crawl out of her financial hole.
She and Claire go into business selling brownies (which are evidently the best in the world) and begin stealing Dandilion girls to do so. These scenes are easily the funniest of the film with Michelle fighting Kristen Schaal (“Sleepwalk With Me”) and other den mothers and then culminating the assault by leading a street battle — in slow motion of all things (it’s a good bet viewers have not seen THIS before).
Things do go south, for awhile, and we get to see just what kind of loyalty Michelle has in a rather goofy, drawn-out conclusion.
Yes, some of the jokes do not make the grade, however, most do and for 90 minutes, at least, we can have a few laughs. Am I setting the humor bar pretty low here, probably and many critics are already panning the movie, but it isn’t a terrible waste of time. Beware, though, The Boss is as far from a family-friendly picture as one could get and the obscenities fly fast and furious (some would even say featuring a cast of youngster with this language is quite inappropriate; that’s up to parents to decide).

My score 5/10