By Alan Scherstuhl
By Amy Nicholson
By Charles Taylor
By Stephanie Zacharek
By Brian Feinzimer
By CAROLINA DEL BUSTO
By AMY NICHOLSON
By Amy Nicholson
Wells, a sometime-producer for auteurs as disparate as Robert Altman, Todd Haynes and John Waters, is better known as the showrunner of massively successful network-TV franchises such as ER and The West Wing. His filmmaking stamp, if you can call it that, hews closely to his iconic TV brands: Character is paramount over story—embodied by Wells’ idiom-thick script, Roger Deakins’ coolly detail-oriented cinematography and Robert Frazen’s cross-cutting—and style serves primarily to elevate relatable types into archetypes, heroic and/or tragic and/or triumphant and/or martyred. Wells’ weakest link in terms of craft is pacing: He takes his time setting up the distinct social strata and moving Bobby from one (country club) to another (construction site), almost as if he has a full season to flesh out arcs. The whiplash-quick happy ending, probably intended as inspirational wish fulfillment, actually comes off as kind of a joke.
Even with its potentially noxious message—The Bad Economy Is Hard On Rich People, Too—The Company Men was often spoken of as a cousin to another star-studded but decidedly middle-class-focused borderline indie about our crumbling society when it premiered at Sundance in January. Call it Up In the Air, Too! The surprise then is how well the gambit worked: With uniformly excellent performances (Affleck—an actor well familiar with rising fast, falling hard and having no choice but to work his way back into the winner’s circle one calculated decision at a time—is particularly satisfying) and a script that parceled out sentiment judiciously and left a fair amount unsaid, The Company Men puts movie-star faces on some of the least sympathetic victims of the financial crisis and still feels like a more mature reckoning with the moment than Jason Reitman’s Oscar nominee. At the very least, Maria Bello’s Adulterous Woman As Symbol for the Chill of Corporate Culture subplot is a lot less simplistic than Vera Farmiga’s; maybe it’s another thing to chalk up to his experience as a producer of long-running ensemble soaps, but Wells seems to know better than to manipulate his audience into falling in love with a heroine, only to reveal she’s actually the biggest villain.
But after nearly 12 months and a shorter, more upbeat streamline from the Weinstein Co.’s own men, The Company Men is less effective as an urgent portrait of our tough times—in part because we’re still living those times and are even more aware now that there’s no quick happy ending. What still rings true, however, is the symbiotic link between money and masculinity. Not exactly dude-friendly (the pyrotechnics are all actorly, and emasculation is as pervasive as the defense-mechanism body humor in a bromance), The Company Men is maybe best understood as a chick flick about dicks: Before its too-easy conclusion, the movie offers a multifaceted glimpse at what can happen when the connective tissue between a man and his source of income is cut and rarely suggests that it could be anything less than excruciating to stop the bleeding.
The Company Men was written and directed by John Wells; and stars Ben Affleck, Tommy Lee Jones, Chris Cooper, Kevin Costner, Maria Bello and Rosemarie DeWitt. Rated R. Countywide.
A shortened version of this reveiw appeared in print.
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