Move Like a Boss

There's a comforting and endearing atmosphere present in the new comedy Move Like a Boss. This Nigerian feature film tells the amusing tale of a woman who pretends to be her father in an attempt to save their family's company. Prominent is the film's entertaining parallel narrative: we're shown snippets of the titular Boss' holiday fun, contrasting with his daughter dealing with the fallout of her father's absence.

Hijinks, of course, ensue; and thus, we get an incredibly fun romp, not dissimilar from something like The Birdcage, even if segments prove rather baggy and inconsistent. It risks feeling stilted - and there are specific scenes that are dramatically inert or simply puzzling in terms of its storytelling - but by the end, you've enjoyed spending time with these vibrant characters and admire the idiosyncratic dramedy vibe this movie's going for. But let's dive into the ups and downs of the narrative and style...

To get the main complaint out the way, the biggest flaw with the piece is its strange and disjointed pacing. Besides the back-and-forth editing, which is most amusing, scenes in and of themselves often have an odd, meandering feel about them. I don't mean in a contemplative or meditative way - it would be more accurate to describe some extended dialogue sequences as awkward. One gets the sense that - in order to fill 90 minutes - scenes have been drawn out. To avoid this staticness, I would have recommended this film be around the 70-minute mark. Critics often use the term "shoe leather" to describe this phenomenon; - but it's often misplaced, since a work's quiet, slow sensibilities should be interpreted as part of the aesthetic. However, when it comes to a goofy comedy, it's difficult to see the point in us watching someone slowly get into a car, start the engine and drive off while a non-copyrighted beat obtrusively plays in the background... to keep the audience entertained (since this has been made for purposes of fun), a slightly punchier editing style wouldn't go amiss.

Although, speaking of which, what this film most definitely has is fun. Audiences will love the ensemble cast. They're big, expressive, and clearly enjoy being on screen. Rarely do you see performers laugh so genuinely on film, yet in Move Like a Boss, we witness the characters emote, dance and mess around wholeheartedly - which is fantastic. Presence is often more important than craft in an actor; meaning, when they have an innate likability or a willingness to be natural and genuine on camera, the audience will embrace that. I commend the director on providing these performers with a lax, creative space in which this style of comedy acting can take place, whilst also guiding the narrative nicely from A to B. A great many of the big laughs come not from the scenario but from the delivery, so - as a piece of entertainment - it succeeds because the viewer actively likes hanging out with these quirky subjects, and is more willing to laugh with those on screen.

Viewers will find a lot to love in Move Like a Boss. Whilst its conventional coverage looks slightly flat and digital, the camerawork itself - in terms of motion and focus - is skilfully done. The set and costume design are equally skilful and demonstrate great attention to nuance, making it also feel like a grand, multifaceted production. Due to its warm, positive atmosphere and charismatic central performances, you can't help but have a good time with this new comedy.