Two New Yorkers are accused of murder in rural Alabama while on their way back to college, and one of their cousins--an inexperienced, loudmouth lawyer not accustomed to Southern rules and manners--comes in to defend them.
Lawrence and Freddie are con-men; big-time and small time respectively. They unsuccessfully attempt to work together only to find that this town (on the French Mediterranean coast) aint big... See full summary »
In the Initech office, the insecure Peter Gibbons hates his job and the abusive Division VP Bill Lumbergh that has just hired two consultants to downsize the company. His best friends are the software engineers Michael Bolton and Samir Nagheenanajar that also hate Initech, and his next door neighbor Lawrence. His girlfriend Anne is cheating on him but she convinces Peter to visit the hypnotherapist Dr. Swanson. Peter tells how miserable his life is and Dr. Swanson hypnotizes him and he goes into a state of ecstasy. However, Dr. Swanson dies immediately after giving the hypnotic suggestion to Peter. He dates the waitress Joanna and changes his attitude in the company, being promoted by the consultants. When he discovers that Michael and Samir will be fired, they decide to plant a virus in the account system to embezzle fraction of cents in each financial operation into Peter's account. However Michael commits a mistake in the software and instead of decimals, they steal a large amount.... Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The cars all have fictitious generic USA license plates which avoid naming a specific state. See more »
When Peter takes down the banner that says "Is this Good for the Company?", Milton has to look across the office at Peter. In a previous scene following the introduction of the Bob consultants, Milton is shown directly under the banner. However, throughout the movie, Milton talks about the fact that his desk is constantly being moved around the office. There also might have been more than one such banner. See more »
So, where do you work, Peter?
In... yeah, what do you do there?
I sit in a cubicle and I update bank software for the 2000 switch.
Well see, they wrote all this bank software, and, uh, to save space, they used two digits for the date instead of four. So, like, 98 instead of 1998? Uh, so I go through these thousands of lines of code and, uh... it doesn't really matter. I uh, I don't like my job, and, uh, I don't think I'm gonna go anymore.
You're just not gonna go?
[...] See more »
At the very end of the credits, it states "This movie was cut entirely on a computer." See more »
It still boggles my mind that this classic working-person's comedy was overlooked at the box office. Unlike today's dumbed-down, unfunny comedy-schlock, Office Space's script was carefully written before the camera began shooting. Based on his Milton shorts, Mike Judge wrote and directed Office Space and did a great job. The film is cleverly written, nicely plotted and paced, and holds interest even after repeated viewings (something I can not say for most comedies).
Peter (Ron Livingston) and his friends have a permanent case of 'the Mondays.' Stuck in dead end programming jobs in an uncaring corporate environment, with a series of ridiculous, annoying and dysfunctional co-workers, Peter has motivation problems. At the request of his equally aggravating girlfriend, he subjects himself to occupational therapy via hypnotism, but just as he reaches a deep trance state, the hypnotist drops dead, and Peter is left in a state of blissful lack of inhibitions. And as things begin to go wrong, they actually get better
through the films twisted (but oh so truthful) logic.
Ron Livingston leads a nicely cast group of actors, including an early appearance by the now-famous Jennifer Aniston. Diedrich Bader is especially memorable for his heroic portrayal of Lawrence, the next-door neighbor and guru. And Ron Coleman and Stephen Root are wonderful.
I have seen Office Space at least ten times, and it, remarkably, does not get old. The recent tendency to dumb-down comedic film exhibits contempt for its own audience. A return to comedies that don't punish people for thinking would make me a fan of the genre, and this would be a great example to draw from.
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