Private Joe Bauers, the definition of "average American", is selected by the Pentagon to be the guinea pig for a top-secret hibernation program. Forgotten, he awakes five centuries in the future. He discovers a society so incredibly dumbed down that he's easily the most intelligent person alive.
Kazakh TV talking head Borat is dispatched to the United States to report on the greatest country in the world. With a documentary crew in tow, Borat becomes more interested in locating and marrying Pamela Anderson.
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 set for Chotchkie's is actually the restaurant "the Alligator grille" in Austin, Texas. The Alligator Grille closed down as of 2009. 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 »
We get caught laundering money, we're not going to white-collar resort prison. No, no, no. We're going to federal POUND ME IN THE ASS prison.
I don't want to go to ANY prison!
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Credits begin with outtakes featuring various actors from the movie. See more »
There's something about a study of life in a `cubicle' to which just about everyone can relate; at least everyone who has ever had to get up every day, go to work and punch a time clock, then go home and wait to do it all over again the next day. In `Office Space,' writer/director Mike Judge (the guy who gave us `Beavis and Butthead') captures the essence of the work-a-day world, in this case in an office setting, though it could be on any job anywhere, from the largest conglomerate to the smallest business concern; anywhere a `corporate structure' is in place and employed. The subtle humor of Judge's vision is funny, and often downright hilarious, and all with very little exaggeration of the way things really are, from the weekly `motivational' talks from the boss, to staff meetings, corporate `mission statements' and the protocol of cover sheets and memos, all of which-- as portrayed here-- have a sterling ring of truth to them. The central character of Judge's story is a guy named Peter Gibbons (Ron Livingston), a software analyst for `Initech,' who after working with a therapist finds himself in something of a transcendental state of mind, whereupon he divulges to a pair of consultants-- `efficiency experts' sent in to streamline the company's operation-- that he does only about `fifteen minutes of real work' a week, due to the very structure (or lack thereof) of the company itself. And his refreshingly honest candor in outlining his job description soon has quite an unexpected effect on his life, as well as that of a couple of co-workers. Judge perceptively expands the satire to encompass facets of Peter's life outside the office, as well, which gives the audience even more with which to identify, like driving to work in bumper to bumper freeway traffic that has slowed to a stop-- in Peter's lane-- while the cars in the next lane going flying by; and when he changes into THAT lane, IT comes to a standstill while the cars in the lane he just left start to whiz on by. It's an application of Murphy's Law that -- while certainly nothing new-- works well within the context of this particular story, in which the humor is derived from emphasizing the annoying, mundane things that happen to us all on a daily basis. Like getting in the shortest line at the supermarket and taking longer than anyone else to get checked out. Livingston gives a notable performance, giving Peter that sense of the `everyman' who'd like nothing better than to break free of the rigors of the 8 to 5 existence. He brings an affable presence to the screen that perfectly communicates what Judge is attempting to say, and does it in such a way that it validates Peter's being selected as `Champion of the Cause' as it were. Also turning in memorable performances are Stephen Root (a terrific character actor), as Milton, a guy whose very existence seems to be a study in suffering abuse and degradation; and Gary Cole, as Peter's boss, Bill Lumbergh, whose impudent, laconic methods of intimidation, delivered in such a droll manner, make him the boss everybody loves to hate. The supporting cast includes Jennifer Aniston as Joanna, the waitress with a minimum of `flare' who has trouble `expressing' herself, according to her boss; Ajay Naidu (Samir); David Herman (Michael Bolton); Richard Riehle (Tom); Joe Bays (Dom); John C. McGinley (Bob Slydell); Paul Wilson (Bob Porter) and Diedrich Bader (Lawrence). Reminiscent of the world portrayed in the `Dilbert' comic strip, `Office Space' works because it effectively puts real people in real situations, and brings you into contact with some characters you're going to recognize; I guarantee that no matter what you do to live, thrive and survive, you've run into these people, worked for them, and alongside them. It's a case of art reflecting reality, and to Judge's credit he's succeeded in making a funny movie that really hits close to home, without resorting to any gross or infantile humor to do it. It's a film that simply puts the `corporate experience' in the spotlight and gives you a chance to laugh at `the boss,' and maybe even a little bit at yourself along the way. I rate this one 8/10.
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