“You’ve got no capital and nobody likes you!” The plot comes together discordantly, with flashbacks and transitions so ineffective they appear as if pilfered from different films. Even the slapstick, which generally capitalizes on the easy target of McCarthy’s weight, struggles to find its footing. The exchanges are painfully spewed, as if the actors were laboring through their dialogue while fending off boos from a live improv crowd. This gives way to a series of conversations that all fall comparably flat – perhaps setting some sort of record for the most number of completely unfunny blabbers spouted out in a row, gruelingly unable to land a genuine punchline. The very first verbal gag, which is a derivation of the “Who’s on First” routine first popularized by Abbott and Costello, descends into blathering babble, as if half a joke was written and then dropped. When the story diverges into a Girl Scouts cookie/brownie-selling rivalry and showdown, Michelle’s former multimillions CEO status becomes virtually blotted out. Whatever the title was intended to mean, it gets utterly lost amidst a series of incoherent, spontaneous modifications for the leading role, which shifts around so much it’s as if she’s depicting multiple personalities. So it’s particularly baffling that the movie would retain the name “The Boss,” a moniker never actually applied to McCarthy’s character in any manner fittingly representative of the filthy-rich, mobster-type persona depicted on the theatrical poster art.
Starting off as a celebrity motivational speaker, complete with rap stars, dancers, and pyrotechnics, Michelle is anything but the typical Wall Street hotshot. With Claire and her daughter Rachel’s (Ella Anderson) help, Michelle must attempt to reclaim her empire – and overcome her own contentious nature. Arriving on Claire’s doorstep, Michelle convinces her former employee to let her stay until she’s able to bounce back. When the industry titan is arrested for insider trading, her company is usurped by Renault and all of her possessions are sold off, leaving her destitute when she’s released from prison four months later. Placing profits above notions of friends and family, Darnell betrays her mentor Ida (Kathy Bates), her lover Renault (Peter Dinklage), and her loyal assistant Claire (Kristen Bell). Fter consistently being rejected by potential adoptive families during her childhood at the Blessed Sisters of Merry orphanage, Michelle Darnell (Melissa McCarthy) grows up to become a highly successful, but hardened and cynical, businesswoman.
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