Can a comedy survive when its leads are stronger than the script itself?

Entertainment · Published 3 October 2026 Swipe more like this →

In short: The 2020 film Like a Boss brought together a powerhouse comedic trio in Tiffany Haddish, Rose Byrne, and Salma Hayek. Despite their combined star power, the movie struggled to win over critics, ultimately becoming a cautionary tale about how even the most talented cast cannot always save a weak narrative.

Directed by Miguel Arteta and released by Paramount Pictures in January 2020, Like a Boss follows two best friends, Mia and Mel, who attempt to save their struggling cosmetics company from a predatory industry titan. The plot centers on the tension between the creative Mia and the organized Mel, whose business is secretly drowning in nearly half a million dollars of debt. When they accept an investment from the cosmetics mogul Claire Luna, they quickly realize she intends to steal their company and their product ideas.

The production history of the film began in 2017 under the working title Limited Partners. Following its release, the film faced significant critical backlash, holding a 21% approval rating on Rotten Tomatoes and a 33 out of 100 score on Metacritic. Critics frequently noted that while the lead actresses performed valiantly, the material itself felt like a comedy on life support. Peter Travers of Rolling Stone famously remarked that the film's attempts at humor were ultimately futile, suggesting the project failed to live up to the potential of its cast.

Commercially, the film debuted to $10 million in its opening weekend, finishing fifth at the box office. It ultimately grossed $29.7 million worldwide against its initial projections. While audiences were slightly more forgiving than critics—awarding it a B grade on CinemaScore—the film's rapid 60% drop in its second weekend signaled a lack of sustained interest. The story of Mia and Mel, who eventually pivot to a new venture called Proud Cosmetics to reclaim their agency, serves as a narrative mirror to the film's own struggle to find its footing in a competitive market.

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