He is one of the pint-sized but parent-less middle managers at the offices of Baby Corp., the movie’s answer to the age-old question “Where do babies come from?” (Baby Corp. The Boss Baby turns out to be not really a baby at all. And in the early going, at least, director Tom McGrath (a veteran of such DreamWorks properties as “Megamind” and the “Madagascar” series) has enough fun with the movie’s metaphor, which might even be a figment of young Tim’s surreal and hyperactive imagination, illustrated in a few zippy, brightly colored daydream sequences throughout. The notion of a newborn being the domestic equivalent of an attention-hogging corporate taskmaster - a micromanager who must also, in turn, be micromanaged - was clever enough to sustain Marla Frazee’s 36-page picture book. But his 7-year-old brother, Tim (Miles Bakshi), quickly senses that the kid is not all right - and not merely because of the jealousy any firstborn can feel upon becoming a sibling. To his besotted parents, a pair of pet-company executives (Lisa Kudrow and Jimmy Kimmel), he is an eating, crying, giggling, napping, self-soiling bundle of joy, miraculously delivered to their doorstep in accordance with family-friendly MPAA guidelines.

They do not wear black business suits, carry briefcases, chug espressos and plot hostile corporate strategies.īut the Boss Baby, voiced with sneaky, fast-talking elan by Alec Baldwin, does all these things and more. Babies, as everyone knows, tend to eat, cry, giggle, nap and soil themselves.

The high-concept premise of “The Boss Baby,” a borderline-cute, suffocatingly creepy kiddie fantasy from DreamWorks Animation, continually violates what were once inviolable laws of the universe.

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