Children’s cinema has it in it to be a perplexingly surreal place. You can keep your Salvador Dali’s and your David Lynch’s, they have nothing on the elaborate and deeply weird concepts which establish the world of The Boss Baby.
Based on Marla Frazee’s likewise titled picture book, the biologically unsound idea here is that human babies descend on the world from a Heaven-via-hegemonopia business in the sky called Baby Corp. From their (…birth? …construction?) initial formation, the infants are divided between those destined to join families and those who will enter employment within the company itself. With adult minds in minute bodies, the job of those designated to the latter category is to preserve human devotion to babies around the world. However, when the balance of love begins to shift unfavourably from the newborns towards puppies, soon to be manufactured to remain so forever, that the Boss Baby (voiced by 30 Rock’s Alec Baldwin) is sent to set the record straight. He does this by joining the family of Tim Templeton (Miles Christoper Bakshi, with Lisa Kudrow and Jimmy Kimmel lending their talents to the roles of his parents), a child absorbed in his own imagination and the idyll of being an only child.
Raw has in it the most terrifying scene you will see in 2017. A disturbing vignette in which shots disorientate, the soundtrack sickens and all captured in the camera’s frame represent a threat. Three words can describe the sequence and each one will indeed send a chill to the very root of your spine; be warned, they may even put you off from daring to enter your local screening at all: student house party. The nightmare is real and were these deafening drunken exploits not horrifying enough, the plot cascading around them concerns cannibalism. This is certainly an experience offering much to get your teeth into. Ahem.
The arrival of a Power Rangers reboot in the present era of superhero overload was so inevitable that the most surprising facet of its 2017 debut is the fact that it’s taken quite so long to morph from the ether. Those able to remember the 1990s Mighty Morphin TV series may have in the intervening years forgotten just how joyfully awful it was, a prime example as it is of the ability of campy nonsense to transcend its own awfulness and achieve a nostalgic status of adoration. There is something admittedly iconic about badass Teletubbies in onesies vocally karate kicking there way through innumerable bad guys.
The Film Blog 