Baby Boss Movie Review

Animation films are currently gaining popularity among adults and babies.

The Boss Baby (2017) for instance, is an animation film that uses bathroom humor to detail a story about babies, which is ideal for both grownups and children. Created and directed by Tom McGrawth, the film incorporates animation designs that are stylized, more graphic, and enhanced stark designs. The characters are simplified and the approach is realistic. While the main characters are made of caricature designs, they look close to human as they have human features, including blood vessels. The animation is proof of technology milestone in the film industry, especially the animation segment. Traditional animations that used the 2D technology were lacking in many properties (McCarthy, 88). It is clear that the character designer was particular on the graphic and exploited the element of human features. For instance, the eyes of the main character are big, blue, and have a more pronounced pupil, thus, making it look like a human baby. In this regard, the film Baby Boss has integrated vital elements of animation film, which are important in creating the ideal resolution, expressions, and manipulating cinematography effects for the purposes of entertaining the audience.

Just like in a typical film, animation film directors have a duty to control the animated characters. The makers of Baby Boss managed not to overcrowd the characters and this probably made it easier for them to control the expressions in the film. The main character has these funny facial expressions that bring out the broadness and meticulousness of the film director. Influencing an animation film design requires a lot of talent and hard work. Baby Boss is a cg film but it is not overly surfaced. It is clear that there was a lot of hand painting involved that gave an edge to the characters. There is also the use of shape language, which was popular back in the 60s and created a broader design (Clarke 47). For instance, the main character’s head is the size of a watermelon attached to a baby’s body. Thus, a stoic background had to be used to support the character.

Animations films are adopting a realistic approach and the film Baby Boss is not an exception. However, there is always the risk of cluttering the scenes and this can take away the charm and appeal of a film. In this case, the use of palette and background support took care of the unnecessary clutter. It is clear that the graphic designer used 3D technology and this helped with tilting the characters in the film. The characters have strong and well defined silhouettes (Robinson 31). While the layout and cinematography is meant to appeal to children, adults too can appreciate the ingenuity of the film.

In any animation film, lenses play an integral part, whereby the wider the lenses are preferred. In Baby Boss, the characters are well illuminated through wide lenses, which zoom in the characters for better clarity. In this case, there are effects that make the characters look big and the spaces even bigger. For instance, when Baby Boss and Tim go to the airport across town to search for their parents, everything looks so enormous and massive, which helps in countering feelings of claustrophobia for the audience (Pratt 19). The audience is manipulated into thinking that the children are lost in the big airport. In this light, the cinematic language creates an emotional verdict in case a character is going through emotional challenges in the static camera work. When Baby Boss and Tim are moving across town, the camera creates motion tricks through fluid language. Moreover, when the main character flashes back or fantasizes, the image is exploited through fish eye lenses without distortion for the purposes of cg (Horn, 22). Therefore, cinematic language is key in any animation film.

Manipulating characters to elicit interest from the audience requires talent. In some cases, animation film producers will experiment with some animatics to test the physicality of the characters. With a reference material, however, storyboard artists find that the physicality tests are not necessary when creating an animation film. In the film Baby Boss, it is clear that the creators wanted the film to be enjoyed by both children and grownups. The character Baby Boss is a baby with adult traits and the creators of the film had to manipulate the characters by attaching a baby head to working adult donning executive attire. At one point, Baby Boss starts to look like a normal baby and this is where the creators manipulate the adult characteristics and grounded them into a baby body (Hahn and Stern 14). The few reality moments create a heightened sense of excitement as the audience can understand the main character’s feelings and imagination, making the audience feel more integrated with the characters.

An animation film, just like any other film requires a high level of creativity. The scripts must be convincing just as the cinematic language and tricks since pleasing an audience requires manipulation of the mind and relatable scenes. Today, more adults are turning to animation films and therefore, the creators of these films should go an extra mile to ensure that the plot and scenes resonate as well as bring out humor.

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Works Cited
Clarke, James. Animated Films. London: Virgin, 2018.
Hahn, Don, and Michael Stern. Animation Magic: A Behind-the-Scenes Look at How an Animated Film Is Made. New York: Disney Press, 2017.
Horn, Geoffrey M. Movie Animation. Milwaukee, WI: Gareth Stevens Pub, 2017.
McCarthy, Helen. Hayao Miyazaki: Master of Japanese Animation : Films, Themes, Artistry. Berkeley, Calif: Stone Bridge Press, 2017.
Pratt, Douglas. Doug Pratt's Dvd: Movies, Television, Music, Art, Adult, and More!New York: Harbor Electronic Pub, 2017.
Robinson, Chris. Estonian Animation: between Genius and Utter Illiteracy, 2017.