The weakest element is Tim and Ted’s brotherhood, which is treated more like a subplot than its primary driving force.
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The movie tries to have its cake and eat it too by doing this family reconnection story along with the spy stuff. The self-appointed rules of Babycorp itself are downright broken this time around where the “memory wipe” aspect is fully dropped as a loophole for story purposes. I know I’m not a kid and this is very much designed for a young demographic, but man, if you’re gonna call out your previous entry for not making sense, you gotta at least try to fix the plot holes. It’s not perfect, but there’s a clear effort and vision for this story that ultimately won me over.ĭo you know the saying “don’t fix what ain’t broke”? Despite many elements of the previous film being broken on arrival, some things aren’t improved on, which is fine, I guess. The way that writer Michael McCullers (who also penned the last film) strings this proactive plot together while balancing the spy thing with Tim and Ted’s bonding, and Tim reconnecting with his daughter, works far better than expected. Erwin Armstrong (Jeff Goldblum), the principal of an academia-oriented chain of schools Tim’s daughter attends designed to mask for a baby/kid revolution. But this time around you have a James Bond-like antagonist in Dr. The puppies taking over parents’ hearts were just… bad. The spy mission this time around is a decent setup that is effective as far as stakes and logic (I use that word loosely) go. The film cleverly calls out the predecessor’s downfalls while enacting a much more cohesive and driving plot. The basis of the emotion is present and whenever the film focuses on the daddy-daughter bond, that’s when the heart is at its absolute best.
The Machines, where they are of different mindsets and never bicker. The rift between Tim and Tabitha is genuine, much like the relationship between Katie Mitchell and Rick Mitchell in The Mitchells Vs.
She rejects his hugs and is more focused on her education than being a kid. Tim is now a grown man who has drifted apart from his baby brother Ted (Alec Baldwin) and fears he’ll do the same with his eldest daughter Tabitha who is trying to grow up way too fast. With Family Business, the team surprisingly crafted a tighter narrative that has more charm and heart. Director Tom McGrath ( Madagascar, Megamind) is no stranger to delivering fast-paced action that stands out as the highlight of his features and there’s one action-packed chase sequence in this film that was more exhilarating to me than all the car chases in F9.
While the motion is still manic with enough movement to keep the younger audience at bay, there are some exhilarating set pieces to accompany it. The imagination sequences are still as gorgeous as ever and work in context through the story itself. Though he’s very much your typical man-child of sorts, he’s a loving stay-at-home dad who provides nothing but support for his breadwinning wife (Eva Longoria), booksmart daughter Tabitha (Ariana Greenblatt), and boss baby Tina (Amy Sedaris).
That remains present in this film through Tim (a charming James Marsden replacing Tobey Maguire), who grew up while holding onto his vivid imagination from his youth. In my review of the previous film, I wrote that at times it felt like I was watching The Backyardigans with the imaginary fantasy sequences the character lighting matches the background’s various art styles. Much like its predecessor, the film is bright, vibrant, colorful, frenetic with its movement, and also visually imaginative. There is nothing but top-notch Dreamworks animation quality put into the production and it shows. Unlike Spirit Untamed, Family Business was made internally at the Glendale campus/homes during COVID.
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