Jason Bateman

  • Horrible Bosses (2011)

    Horrible Bosses (2011)

    ByChristian Sauvé Movie Review

    (In theaters, July 2011) Two and a half years after a catastrophic global meltdown, movies are starting to reflect the soul-deadened guilt of those who kept their jobs.  Playing heavily on wish-fulfillment, Horrible Bosses dares to ask how much better life would be if people could just get rid of their awful supervisors in the most definitive way possible.  It takes strong protagonists to keep our sympathy in such circumstances, and Horrible Bosses get two out of three in that matter: Jason Bateman continues his streak of playing endearing everymen, while Jason Sudeikis somehow manages to make us look past his character’s horn-dog issues.  As the remaining member of the trio of oppressed worker looking to dispatch their bosses, however, Charlie Day is almost more annoying than useful, and the tic of reverting to a high-pitched whine whenever things go wrong is annoying the moment it happens a second time.  Then there’s the other half of the deal: the bosses.  Fortunately, that’s where Horrible Bosses wins a perfect score: Kevin Spacey is deliciously slimy as the kind of arrogant sociopath that climbs up the corporate ladder; Colin Farrell is unrecognizable as a loser working to extract as much loot out of the family company before it goes bankrupt; whereas Jennifer Aniston is all sex-appeal with bangs, toned body and racoon eyes as a crazed harasser.  They deserve their fate; the protagonists have suffered enough; and the film can stand on its own.  It does get better as it develops, mostly due to some clever writing, sympathetic performances (including Jamie Foxx as a criminal consultant), a few twists in which real world problems become comic plot points, and a conclusion that neatly wraps things up.  While Horrible Bosses won’t stick around in popular culture, it’s a decent example of the kind of film it wants to be: It’s amoral without being offensive, edgy without grossing-out and polished to an extent that it leaves little if any unpleasant aftertaste.  Good enough for entertainment; consecration isn’t an essential prerequisite with a good-time comedy like this.

  • Extract (2009)

    Extract (2009)

    ByChristian Sauvé Movie Review

    (In theatres, September 2009) This risqué yet generally amiable comedy by Mike Judge has little of the cubicle universality of Office Space of the striking conceptual strength of Idiocy.  That’s not necessarily a bad thing, but it does limit its appeal and give it little memetic traction.  In less pretentious terms, Extract is easily forgettable even if it’s not unpleasant to watch.  A good chunk of this appeal rests on the shoulders of the capable cast headlining the ensemble comedy.  The lead character of the piece, a harried chemist turned businessman now hitting a mid-life crisis pretty hard, wouldn’t be half as sympathetic if he wasn’t played with the good-boy charm of Jason Bateman.  Gene Simmons pops up as an intense ambulance-chasing lawyer, whereas J.K. Simmons is a bit wasted as a voice of reason in the middle of so much low-key craziness.  Extract’s plot scatters in multiple directions, with a number of small twists when characters don’t behave as they usually do in other comedies.  If the actual execution of the plot is hit-and-miss, Judge’s portrait of American working-class banality is just off-the-wall enough to keep viewers interested.  Time will tell if the film ends up producing as many catchphrases as the writer/director’s previous efforts, but a first glance suggests that this won’t be the case.  On the other hand, Extract does manage to hits its own targets consistently, and if a little more ambition (or class awareness) wouldn’t have hurt, at least there’s something to be said for decent entertainment.