We next see Michelle in her adult guise as a financial guru in an overblown stage act that makes her look like a pop star (complete with flashing lights and back-up dancers), preaching the lure of selfish capitalism in an anti-family Ayn Rand style. See Video: Melissa McCarthy Swears Up a Storm in 'The Boss' Red-Band Trailer
This is all done so hastily and carelessly that we don’t even find out much about why Michelle is being sent back, and this is symptomatic of “The Boss” as a whole: it isn’t comedy, and it isn’t drama, much less comedy-drama. In the prologue, we see McCarthy’s character Michelle Darnell sent back to an orphanage three separate times - in 1975, 1980, and 1985, all with appropriate music cues, of course - and Margo Martindale‘s nun Sister Aluminata keeps welcoming her back. There are nearly no laughs in this picture, and in a movie that bills itself as a comedy, usually you can see the performers working for laughs of some kind at least part of the time. The curious thing about “The Boss,” the second film that Melissa McCarthy has made with her husband Ben Falcone as writer-director (following “Tammy” in 2014), is how little it seems to be working to amuse.
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