Well what can I say? The film is somewhat funny and bearable enough to finish but is tedious to the point of painful meanwhile kills time. The writers clearly were adamant about timing but it was effortful and the humor was sprinkled. Out of clear desperation the plot piggy backs off of earlier material to lay it on thick and is overall outlandish. Any form of appeal that the creators thought they could use they did whether it be through obscenity or provocation, I don't know who the target audience was but definitely not the classy type. Ashton Kutcher was put in a role that didn't seem too believable initially but then started to make sense as the film drew on but still in the end only proved to be utilitarian in the sense of making the film work not due to Ashton seeming the type. This film tapped into some striking issues regarding everything from race to weight and could've been funny yet influential but in the end goofiness took president over all else.

I don't know anything about the 'backstory' of this film. I don't know if it was plagued with production issues, recasting, re-shoots, censorship/cuts to get a PG-13 rating, etc -- and I don't have the energy to Google it to find out.All I knew about this movie was it came out when I was in high school, and I remember a friend of mine taking a girl to see it on a date. They both hated it so much they left halfway through. For some reason, that fact has remained with me for 10+ years.Now, nearly 15 years after its release, I watched the film on Netflix.Was it good? No. Was it terrible? No. Did I laugh? A little.The main issue was the film's "jumpy" storytelling. I would imagine that this project was originally an R-rated idea, but late in the game they pushed for PG-13, resulting in this jumpy-vibe. It really hurt the film.At no point did I care for Ashton Kutcher & Tara Reid's relationship, nor was their interactions funny or engaging. However, the film did feature an owl jacked-up on coke which was fairly funny.This movie is the definition of the word "passable." Worth a laugh or two, but that's about it. Expected more from Zucker.

"There are some things you just don't do" so says the tag-line of this, a 2003 David Zucker comedy about a young man caught up in one horrendous situation after another entitled My Boss's Daughter, and it's the tag-line which should speak for both the people that made this junk as well as those contemplating watching it. There are indeed some things you just don't do, with the placing of mostly all of the sort of content to be found within My Boss's Daughter counting as wholly items you just should not do to the medium of cinema by including them in your picture. My Boss's Daugther is a sordid; creepy; grotesque experience, a clunky and heavy handed piece which is infantile beyond words and disgusting beyond expression. To see it is to endure it, to endure it is to survive it and to survive it is an accomplishment all by itself – if any of the cast; writers; extras; Hell, even the guys that worked as runners on the set, aid in producing anything as Earth-shatteringly poor as this again, then it'll be either because they've been sent here by the devil Himself to destroy the medium of film or, it'll be because they've most probably garnered employment on behalf of the Friedberg/Seltzer mob.My Boss's Daugther, (which I'm pretty sure ought to be titled "My Boss' Daugther", grammatically speaking), revolves around its hapless male lead, named Tom Stansfield (Kutcher), and a night in at his boss' house as he chases that seemingly elusive 'goal' that is his young, blonde daughter Lisa Taylor (Reid) - someone whom works within the same department as he does in a towering Chicago office block whilst under the strict eye of Jack Taylor (Stamp). Tom spies Lisa early on, she's taking the subway to work with all the other shmos despite the fact she owns a car and that her father is the boss of the damn company. After trying to talk to her, but having his attempts foiled by a puking baby and a dog for the blind more interested in Tom's crotch than anything else, he finally gets his chance in the office when talk of an after-dark party elsewhere arises and that he ought to come round to her house to visit her - and yes, she does still live with her father. Think Hitchcock's 1960 film Psycho with the gender roles between Norman Bates and his mother reversed and then played for laughs.The distinct establishment of character is made painfully apparent in the opening scene in which Tom sits on the subway train and travels to work with his yuppie cohorts. They are a ruthless and smarmy bunch, whom it's made apparent swipe the briefcases of those unfortunate enough to get them stuck in the door in the ensuing morning rush, without ever returning them. One day it happens with Tom there, and his wish is to return it, thus pounding into us that he's-not-like-other-guys(!) This, as he first sees Lisa down the carriage and is somewhat shy to approach her as the other men treat the whole situation as if it would be a breeze if they were in his position. This rather obvious and flat-footed attempt to try and get us to 'side' with Tom sits uneasily with what it supposedly takes to earn a place amidst these co-workers in this company.It is, however, as close as My Boss's Daughter comes to any level of film-making. From a seemingly harmless premise of a boy meeting a girl and wanting to get to know her arrives the comedy from Hell. Tom's arriving at the house will not see him invited to the party, instead he is charged with house sitting Jack's pet owl and generally keeping out of mischief whilst maintaining a spotless house. It's been established Terrance Stamp's character means business in the strictest of manners, firing people for the smallest of things such as the making of a bad cup of coffee. It's not that Jack is a shrewed businessman, he's a cleanliness freak; obsessed with control and a borderline sociopath in his placings of bear traps in the garden so as to keep the children next door off his land. You can imagine, that when we're let into his large and exquisite house with the orders that nothing should go wrong, there's obviously going to be trouble.The film has fun with this premise of danger for about ten minutes. The first time someone uses the worktop to crack open a beer thus marking the pristine top, you may smirk, but by the time half the house is wrecked and Michael Madsen has shown up urinating all over the rug, you've got your head in your hands. Each joke in the film is set up in an almighty clunky manner before it is played out in a way that is closer to slow and excruciating than slick and faultless, the only thing missing as it follows through to the next gag is the sound effect of someone incorrectly changing the gears to a car as it clunks and creaks onto the next pratfall. Inbetween the gross-out wackiness, the film takes time to roll down a route of yucky, saccharine driven romance as Lisa and Tom bond whilst talking of in-workplace and out-of workplace persona's, and that maybe they have more in common than first thought. By the hour mark, the film's opted for gross out gags and hate filled jibes more than anything when there's an entire scene that exists purely to target paraplegics and a dumb subplot to do with a head-injury sporting neighbour on a blind date in which some truly unwatchable sight gags are unfolded. Throughout, Stamp's character enjoys putting people down and asking if the simplest of tasks are too difficult for them, to which the common-place reply ought to be whilst channeling Jack Taylor: was reading the screenplay first too complicated-a concept for you, Stamp?

Tom thinks he has been asked out by the sexy daughter of his manic yet powerful boss but when he arrives at her house he finds that he has actually been asked to house-sit while she parties. His boss Jack Taylor leaves him instructions, very strict instructions and all Tom hopes to do is get through the evening without doing anything negative at all. However it is not just the obvious things that go wrong for Tom, but things that would seem unlikely and absurd to any normal person.I watch hundreds of films a year covering all sorts of genres, countries and periods. I do not say this as a boast (really, is this anything to be proud of?) but rather to highlight what I mean when I get to my next sentence. I rarely turn a film off or walk out before the end. Rarely, in fact I can only think of one or two where I wrote a review based on part of the film. I don't always do this because I think it will get better but rather because I have a touch of the compulsive behaviour about me and I just prefer to watch the whole thing so I can give my opinion in an informed manner.So, with this film please feel free to ignore my views on the basis that I switched off at the 60 minute mark, unwilling and unable to stand the film for any of the remaining thirty minutes. I found the 60 minutes that I enduring to be incredibly lazy and contrived with not even a single laugh to cover for it. The entire (from my point of view) film was based around Tom house-sitting due to a misunderstanding whereby he thought he would actually have been dating Lisa Taylor, the character who is the title's daughter of the title's boss. If you have not seen the film you may be shocked to learn that this house-sitting period is not event free, in fact it is pretty much a case of one thing going wrong after another, whether it is a drug deal, a cheating boyfriend, a sexy girl with a great body, a missing owl or some mice getting loose. Be sure – if it can go wrong it does.Sadly what this "craziness" does not produce is a single laugh or even a single moment where I believed the story was written by a human as opposed to a machine, no, scratch that – a committee of machines. It isn't really predictable, because who predicted a criminal trying to recover drugs as part of the story, it is just that nothing that happens has any wit, humour or imagination about it. I tired of it quickly and literally the best thing I can say about it was that I managed about an hour before bailing out. The cast are rubbish but in fairness it is the material that leaves them out on their own. Kutcher is poor and, to provide a frame of reference – is poor by his own standards. I often thought he was asleep. Aside from a bit of a sexy dance and the fact that short blonde women are lovely, Reid does nothing. The rest of the cast features faces such as Thompson, Tambor, Madsen and others but none are any good. Electra has a great body but that alone accounts for a few minutes of the sixty I sat through.Overall then, a pointlessly bland film. There wasn't anything that struck me as being "terrible" but rather it was just 100% bland and uninteresting – which I almost think is worse than being bad. You can understand if people are not capable of doing something but seeing everyone putting in so little effort is that bit more insulting. Perhaps it turned into Citizen Kane in the final thirty minutes but I'll never know because the two-thirds I saw was so banal and pointless that I thought switching it off was the only safe option I had.