like a boss cast and crew – Like A Boss (Film)

As the flashy and narcissistic Claire Luna, she’s been made up to look like a petite, real-life Jessica Rabbit, with mounds of dramatic red waves, bright-green colored contacts and an array of form-fitting power outfits and platform pumps.

like a boss song movie – The Pacific Northwest Inlander

Like a BossLike a Boss is a 2020 American comedy film directed by Miguel Arteta , written by Sam Pitman and Adam Cole-Kelly, and starring Tiffany Haddish , Rose Byrne , Jennifer Coolidge , Natasha Rothwell , Billy Porter , and Salma Hayek The plot follows two friends who attempt to take control of their cosmetics company back from an industry titan. Plotwise we quickly learn Mia (Haddish) and Mel (Byrne) are lifelong best friends who went into business together running a cosmetics boutique that sells packages of female beauty products labeled One Night Stand.” Although they are BFFs, they have wildly different views of the world they are traversing together. Their financially foundering business, meanwhile, gets the eye of a guy named Josh (Karan Soni), the yes man” for cosmetics entrepreneur Claire Luna (Salma Hayek), who aims to take over Mia and Mel’s operation by buying a 51% stake. Mia frowns on it but eventually gets talked into Claire’s offer of a 49% stake, with the caveat that should Mia and Mel break up their partnership she gets control.

Rose Byrne surprised me by stealing so many scenes from Seth Rogen in Neighbors, so she proved she could be funny. Casting them as best friends and roommates seems like the perfect fit. Casting Salma Hayek as the evil, rich CEO was also a smart choice. Most people probably missed her playing that same type of character (but not cartoonish) in The Hummingbird Project a few years ago.


Like a Boss may feel endless, but it’s only 83 minutes long, the kind of runtime most commonly associated with animated sequels for children that end with animals staging a rousing singalong to I’m a Believer.” It’s hard to guess whether the story was mangled by studio reedits or just didn’t have much to say to begin with — both seem possible. The bigger question is why so many strong actors signed on for this misfire. Because as is, it feels like a film whose point is clumsily misunderstood by the very people who created it. And if that’s the case, how can they expect anyone else to find a reason to pay for a ticket to see it? There’s still plenty of time to save the studio comedy, but no one would miss films like this if they were gone.

Well, Like a Boss” may not introduce twisted, supernatural ghouls, but screenwriters Sam Pitman and Adam Cole-Kelly certainly pile on crass, warped adult humor in spades, as they absolutely earn the film’s R-rating with content that would make 1982-Eddie Murphy blush.

It’s a shame too, because Like a Boss, written by Sam Pittman and Adam Cole-Kelly, based on a story by Danielle Sanchez-Witzel, and directed by Miguel Arteta, boasts a cast of terrific comic actors: Tiffany Haddish, Rose Byrne, and Salma Hayek, with supporting turns from Billy Porter and Jennifer Coolidge.

Salma Hayek, Tiffany Haddish and Rose Byrne in a scene from Like A Boss. Billy Porter (right) plays Barret and Tiffany Haddish plays Mia Carter in Like a Boss from Paramount Pictures. Haddish and Rose Byrne play best friends in the latest comedy to pander to women with a generic take on female friendship.


Best friends Mia and Mel run their own cosmetics company – a business they built from the ground up. But they’re also in over their heads financially, and the prospect of a buyout offer from an industry titan proves too tempting to pass up. The beauty business is now about to get ugly as the proposal puts Mia and Mel’s lifelong friendship to the ultimate test.

Byrne’s presence is the most obvious example of the one degree of separation between the two. There are others. Ari Graynor (from FX’s upcoming limited series Mrs. America”), Natasha Rothwell (Insecure”), and Jessica St. Clair (Playing House”) make up Mia and Mel’s amiable, more financially grounded friendship posse.

Haddish co-stars as Mel Paige, the creative brain behind indie cosmetic brand Mel & Mia, which she founded alongside life-long friend Mia Carter (Rose Byrne). Carter, the more fiscally pragmatic of the duo, has long dreamed of breakout success for their brand. When the two women are approached by industry titan Claire Luna (Hayek) – who offers to cover M&M’s near-half-million dollars of debt for a controlling share of their company – the best friends find their relationship at odds and their innovative products stolen by the cosmetics mogul.

At just 83 minutes including end credits, the new female buddy comedy Like a Boss feels twice as long. It is painful to watch such appealing stars as Tiffany Haddish and Rose Byrne stuck in this witless enterprise that promises to be about female friendship and empowerment but fails miserably as it falls into a morass of cliches. If ever there was an argument supporting the need for female filmmakers, it is this hapless movie that not only was directed by a man but also written by two men. Judging by the results, it appears they are clueless as to how women act in the real world.

But of all the talent squandered in such inane fare (god bless Billy Porter and Jennifer Coolidge), the oddest one of all is the director: Miguel Arteta. Arteta is best known for indie comedies like Youth in Revolt,” Beatriz at Dinner,” and Duck Butter,” all of which grounded their humor in ambitious social commentary. Why he tried his hand at studio fare with an almost comically apolitical script is baffling, though it may have had something to do with Hayek, who starred in Beatriz at Dinner.” Like a Boss” may preach friendship above all else, but sitting through it together would test even the strongest of ties.Like a Boss

Mainly what Like a Boss” sells is raunch, with much foundation, and certainly no concealer. Conceived and developed shortly after Haddish scored, deservedly, with Girls Trip, ”” the movie is a mechanical series of witless yeast infection jokes, or thereabouts. While director Miguel Arteta has made some interesting work in the past, including The Good Girl” and Beatriz at Dinner,” his way with low physical comedy here is pretty artless. Promising running gags, such as the pesky drones flying around Clair’s corporate offices, go nowhere. A scene with Mel and Mia accidentally dropping a joint inside a baby’s playpen is a dubious idea, lamely executed.

Why is women-in-business a cinematic subgenre at all? I love many such films even if they all rely, in some fashion, on us finding women at work inherently absurd. They posit women as sex object or secretary on one end of the spectrum or frigid successful bitch on the other. If they’re the former, as in 9 to 5 or Working Girl, they need to outsmart the system and seize power for themselves. If they’re the latter, like Diane Keaton’s corporate killer in Baby Boom, they need to learn conventional femininity—in that film, by inheriting custody of a distant relative’s baby and finding love (and success, as the maker of organic baby food, no less).

It’s truly regrettable that they’re failed by a flimsy story. There’s certainly room for a comedy that takes the $530 billion cosmetics industry —and the people (mostly women) whose money powers it — seriously. It’s an industry that’s used the growth of the influencer economy to vault its profits into the stratosphere, to the point that an exhausting sameness has come to rule YouTube and Instagram.


In this sense, Haddish and Byrne are the core supports for a flimsy story. Both have more than proven their comic chops in films that have relied heavily on their improvisational and physical comedy skills. Byrne is a great foil to Haddish, having seemingly cemented herself as the unexpected comic everywoman of this late-night orbit in films such as Neighbors, Spy and, of course, Bridesmaids. Add to this the welcome, if wholly transparent, presence of cultural icon Billy Porter, the always solidly funny Natasha Rothwell and, in a winking continuation of her role in Legally Blonde, Jennifer Coolidge, and it seems that what Like a Boss has done best is amass a group of actors who are just plain fun to watch together onscreen.

Kay Unger never visited the set where Rose Byrne, Tiffany Haddish and Salma Hayek emulated beauty industry executives. But that doesn’t happen with Like A Boss.” These actors deserve a better script and women deserve a better movie. And 1981 was a good year, I guess.

Hayek is playing a noxious stereotype in a movie that gleefully exploits stereotypes. Like some of the other unfunny female-driven comedies, this one tries to turn raunch into hilarity, yucks into yuks, but it’s hard to laugh when a movie treats women with contempt. A novelty cake of a baby’s head emerging from a bloody vaginal opening sums up the juvenile humor; almost as egregious is a bit built around Claire’s pronunciation of fierce.” Making fun of accents is chancy, but what makes this scene grate is that — like much of this movie — the humor is located in identity. Like a Boss” mocks her accent and turns her looks into a spectacle, reducing her threat and power.

Arteta is no help; while he’s a skilled filmmaker (see 2017’s Beatriz at Dinner”), he clearly had no intentions for Like a Boss” beyond depositing the paycheck. That leaves the heavy lifting to the cast, who do what they can. Haddish is constitutionally incapable of being unfunny, and she makes hay with the few jokes the writers have thought to give her — with plenty of improvisation to fill in the gaps. Byrne, an underrated actress generally and in comedy specifically, is given an especially thankless task, playing a wet blanket in an underwritten role. Hayak … says her lines dutifully.

Look, director Miguel Arteta’s movie features two very likable comedic actresses, whose characters own a make-up company. A make-up company! This translates to girlfriends, mothers and daughters planning dinner-and-movie dates at thousands of cineplexes. Who could blame them? On the surface, Like a Boss” hits all kinds of girly-beats, but most of the film’s laughs can be enjoyed in the 2-minute 18-second trailer.

Mel handles the finances for the business and is having trouble telling Mia that they are in a great deal of debt. When the chance to fold their business into a huge beauty products company run by Claire Luna (Salma Hayek) presents itself, Mel wants to jump at the opportunity, but Mia is not so sure.

Mia shows aggression toward Claire, threatening her with bodily harm and smashing a pane of glass with a hammer. Claire is left dangling from a high-up spot (from which she’d surely die if she fell), and Mia and Mel jump into a pool from a rooftop – they make it, but if they hadn’t, they would have been killed or grievously injured.

Natasha Rothwell (Love, Simon) and Ari Graynor (The Sopranos) garner a few laughs as friends of Mel and Mia, but Billy Porter steals the show. When we witness his tragic moment — it’s perhaps the most FAB-U-LOUS firing you’ll see on screen this year.

What about the actual movie, this potential wonder of feminine bliss? Well, the chuckles start to wane after the first 20 minutes, and the remaining 60 are largely spent feeling pity for Haddish and Byrne. Two female friends with very different ideals decide to start a beauty company together. One is more practical, while the other wants to earn her fortune and live a lavish lifestyle.

Haddish and Byrne know their way around a joke and have crackling comic chemistry, which elevates this movie’s throwaway plot and turns the whole enterprise into something worth watching. At times, Like a Boss seems cobbled together out of other (admittedly better) comedies about female friendship: Haddish and Byrne have an unbreakable Romy and Michele -like BFF bond that’s set upon by malevolent outside forces, Girls Trip -style, which inevitably results in Bridesmaids -esque hijinks. But while Like a Boss is funny all the way through, it ultimately doesn’t reach the heights of those earlier films. It lacks a certain something (sweetness? authenticity?), which can perhaps be blamed on the fact that Like a Boss has an almost all-male writing and directing team, and those three movies were all written, at least in part, by women.

Not seriously threaten, obviously. Like a Boss” is far too breezy to even imply that things aren’t going to work out for its likable stars. Instead of rising conflict, this story — the script is by first-timers Sam Pitman and Adam Cole-Kelly — has simmering tension that never boils.

She wastes no time in offering to pay off MM’s debt in exchange for a controlling interest in it. Mel, who is proving not to be so practical after all, says yes straightaway but Mia holds out. At least she holds out long enough for the script to announce its main theme – the importance of sisterhood.

Their lifeline appears as an investment offer from a huge cosmetics conglomerate run by Claire Luna (Hayek, decked out with peculiar teeth and low-cut outfits that say everything must GO!”). Screenwriters Sam Pitman and Adam Cole-Kelly leave no surprises lying around for the audience’s benefit. We know Claire is a conniving shark, out for blood and total control of the business. We know Mel and Mia will become temporary enemies before re-cementing their relationship. Haddish plays the impulsive, creative one; Byrne’s character, emotionally guarded and a chronic pleaser, has the head for business, we’re told, although she can’t work up the nerve to let her best friend know they’re going under.

Like a Boss may feel endless, but it’s only 83 minutes long, the kind of runtime most commonly associated with animated sequels for children that end with animals staging a rousing singalong to I’m a Believer.” It’s hard to guess whether the story was mangled by studio reedits or just didn’t have much to say to begin with — both seem possible. The bigger question is why so many strong actors signed on for this misfire. Because as is, it feels like a film whose point is clumsily misunderstood by the very people who created it. And if that’s the case, how can they expect anyone else to find a reason to pay for a ticket to see it? There’s still plenty of time to save the studio comedy, but no one would miss films like this if they were gone.

Nearly every scene in Like a Boss” has the air of desperation. Mia and Mel jump from the roof of a home into the swimming pool below, for no good reason. Mia steps onto a ledge and threatens to kill herself if Claire won’t meet with her and Mel — and nearly plunges to her death when she loses her balance. Mia inadvertently consumes hot peppers, which results in her consuming and projectile spitting out goat milk (don’t ask), and of course winding up on the toilet.

Categories Movies