REVIEW: "The Boss Baby" Delivers a Surprisingly Creative Spin on Family and Business, Even If It Does Go Through a Few Too Many Diapers

Imagine, or a moment, that Jack Donaghy from NBC's "30 Rock" was an infant, and he starred in his own film, a cross between Look Who's Talking and Glengarry Glen Ross without the cussing. That's the basic concept of DreamWorks Animation's comedy, The Boss Baby (based on an award-winning children's book), which stars Alec Baldwin as the voice of a suit-wearing, adult-speaking toddler.

But the film actually begins with imaginative boy Tim (voiced by Miles Bakshi, grandson of veteran animator Ralph Bakshi, and narrated as an adult by Tobey Maguire), who goes on many imaginative and creative adventures with his loving and supporting parents (Jimmy Kimmel and Lisa Kudrow), from Congo exploring to deep sea diving. This visually comedic prologue is followed by a cheery and silly allude to Fred Astaire's "Cheek to Cheek," and puts a new spin on the whole "Where do babies come from" notion--a different realm than Warner Animation's Storks took as babies here are divided into either families or management (depending apparently on their ticklish habits).

And then, the Baby shows up. Obviously, chaos happens in the family and in Tim's own life. And when Tim finds out the Baby can talk (and who he is), he plots to get rid of the Baby. Pretty obvious, as we've seen this theme in several potty-humor kids films. Furthermore, it's the Baby's belief that "there's only so much love to go around," and not enough for him or Tim.

And when they're both grounded after a mishap and forced to spend three weeks together, the Baby confesses: he's been sent from his company "up above" to stop a rival puppy corporation (where Tim's parents work) from releasing a new puppy that's reportedly being made, in order to get promoted to upper management (as if up above wasn't enough). Plus, "babies aren't getting as much love as they used to," he tells us. The action and mayhem that follows gives "Rugrats" some company, and puts Baby Geniuses to shame.

Kudos to director Tom McGrath (2005's Madagascar and 2010's Megamind) who keeps the visual style and comedy coming. Separating itself from the more complex and human-like work done on previous DreamWorks films like Shrek and How to Train Your Dragon, The Boss Baby's animation recalls the style of Disney, MGM and Warner Bros from the Fourties through the Sixties, with silly character designs a la Dick & Jane, as well as big heads and small bodies. The opening credit sequence alone reminded me of 101 Dalmatians. There are also clever supporting characters, including the Boss Baby's earthbound "business partners" Stacy, a group of triplets, and big Jimbo. But it's Baldwin's voice work alone that's worth the price of admission.

What the film does suffer from, at times, is a predictable subplot involving a former baby boss who plots revenge against a rival corps, and an unnecessary dimwitted, cross-dressing "Scary Poppins" bodyguard. Personally, I would have chosen a different song for the closing credits than the Burt Bacharach cover. And some of the content is pretty deep (Tim asks at one point, "Are you the baby Jesus?"), which will easily fly over kids' heads. But even if the story is full of one too many subplots and few too many diaper/poop/butt gags (as can be expected in a PG-rated cartoon feature), its creative and fun take on family and business is well worth it.

There's a Benjamin Button-/Peter Pan-esque moment where the Boss Baby tells Tim, "I may look like a baby, but I was born all grown up." It's obvious many people, particularly preteens and adults, want respect and dignity and success. And yet, there's something poignant about the theme of never growing up, yet never having anyone to share your life with (whether children or adults) and, as a result, feeling empty without them or seeing the effect it has on both. Imagine if all the Jack Donaghy's in the world heard that.