As a subcategory of the horror genre, the exorcism film does not have the best reputation. For every The Exorcist, there are a dozen Posessed’s and Beyond the Door’s. Yet, when done well, there is rarely something as profoundly [...]
It is said that during the Depression, the only industry that flourished rather than imploded was entertainment. Similarly, today’s economic recession has offered no visible change in Hollywood, and in fact given birth to several films occupied with the effects of financial hardship, like Up in the Air and The Company Men. While these films often deal with the difficulty to find work, few of them make the point that Horrible Bosses does: What happens when you do get a job, and it’s the only job you’ve got?
The film’s answer? You get a horrible boss.
Horrible Bosses follows three men, Nick (Jason Bateman), Dale (Charlie Day), and Kurt (Jason Sudeikis) who in turn have three teeth unbearably awful bosses: the lecheress Julia (Jennifer Aniston), the manipulative control freak Harken (Kevin Spacey), and the manic, stripper licking, coke fiend Bobby (Colin Farrel). Given the economic situation, the film sets up a logical sequence for its characters: it’s either the job you’ve got or giving handjobs at the bar, so the only real way to make your workplace bearable? Kill your boss.
The film handles the absurdity of its plot with quick wit and a swaggering sort of bravado. The setup is quick and reasonable--we see the bosses in their worst shenanigans, and subsequently the way that they trap the characters in their jobs and their misery. When Nick tries to quit the job he’s held for eight years anticipating a promotion, Harken informs him that he can make sure Nick never works in the industry again.
Bateman is perfect for the part, having established his one man who has no choice but to keep it all together as Michael Bluth. He brings all of the same desperation to his current situation. All three of the main characters are the sorts of every-men that a viewer wants to root for. They are at times crude, funny, rudely sexual and intensely loyal to each other. When they propose a Strangers on a Train solution to their problem, in which they murder one another’s bosses, the concept assumes its inherent absurdity without carrying with it any of the real moral anguish associated with murder. This is not Crime and Punishment. This is just punishment--for once at the hands of the just underdogs.
Obviously the film is playing off of the audience’s desires and position in society. Horrible Bosses is a gratification film, where the audience’s desires, however socially unacceptable, are rewarded. In a time of such job scarcity, it’s true that those higher up on the ladder have the liberty to treat their subordinates terribly, with the constant assurance that they will always be able to find someone desperate enough to deal with their abuse.
While not all of the audience will have experienced this, they will easily recognize the desperation exhibited by the characters. Even without the presence of horrible bosses, many have to take on undesirable jobs. The film plays off the natural psychological tendency to seek a scapegoat for personal distress. Wouldn’t it be fantastic if there was always a demonic presence in the workplace to blame for your misery? Wouldn’t it be fantastic if you could solve all of your problems by isolating the worst parts of the economy, the worst parts of your boring job, into one horrible person--and dispose of them?
Unfortunately, while Horrible Bosses has a stellar cast (actors named above are joined by Jamie Foxx, Donald Sutherland and Julie Bowen) and a successful setup, the film doesn’t quite deliver on its promise. While certain scenes leave you laughing--notably, a scene with a coked out Day and Bateman--the jokes are often off the mark.
In addition, there is a somewhat disconcerting gender issue posed by Aniston’s role in the film as a dentist that sexually harasses Day, her dental assistant. The film is clearly uncertain how to handle her: on the one hand, they attempt to pose her as a “man-eater” and “bitch” that is ruining Day’s life; on the other hand, they shoot her with an extensive spray tan, wearing raunchy outfits in exploitative poses, and permit the other characters to voice the question, “Who wouldn’t want Jennifer Aniston sexually harassing them in the workplace?” The result is a somewhat callous view of sexual harassment. Played by a man, this character would be despicable, but played by Aniston, Julia is supposed to be funny and sexy.
Perhaps Horrible Bosses would have been more aptly titled Horrible Economy, to better illustrate the degree of despair and last resort mentality prevalent in today’s workforce. However, perhaps the film’s best message is the importance of humor and fantasy in times of despair. Sometimes hyperbole is enough.
The film’s answer? You get a horrible boss.
Horrible Bosses follows three men, Nick (Jason Bateman), Dale (Charlie Day), and Kurt (Jason Sudeikis) who in turn have three teeth unbearably awful bosses: the lecheress Julia (Jennifer Aniston), the manipulative control freak Harken (Kevin Spacey), and the manic, stripper licking, coke fiend Bobby (Colin Farrel). Given the economic situation, the film sets up a logical sequence for its characters: it’s either the job you’ve got or giving handjobs at the bar, so the only real way to make your workplace bearable? Kill your boss.
The film handles the absurdity of its plot with quick wit and a swaggering sort of bravado. The setup is quick and reasonable--we see the bosses in their worst shenanigans, and subsequently the way that they trap the characters in their jobs and their misery. When Nick tries to quit the job he’s held for eight years anticipating a promotion, Harken informs him that he can make sure Nick never works in the industry again.
Bateman is perfect for the part, having established his one man who has no choice but to keep it all together as Michael Bluth. He brings all of the same desperation to his current situation. All three of the main characters are the sorts of every-men that a viewer wants to root for. They are at times crude, funny, rudely sexual and intensely loyal to each other. When they propose a Strangers on a Train solution to their problem, in which they murder one another’s bosses, the concept assumes its inherent absurdity without carrying with it any of the real moral anguish associated with murder. This is not Crime and Punishment. This is just punishment--for once at the hands of the just underdogs.
Obviously the film is playing off of the audience’s desires and position in society. Horrible Bosses is a gratification film, where the audience’s desires, however socially unacceptable, are rewarded. In a time of such job scarcity, it’s true that those higher up on the ladder have the liberty to treat their subordinates terribly, with the constant assurance that they will always be able to find someone desperate enough to deal with their abuse.
While not all of the audience will have experienced this, they will easily recognize the desperation exhibited by the characters. Even without the presence of horrible bosses, many have to take on undesirable jobs. The film plays off the natural psychological tendency to seek a scapegoat for personal distress. Wouldn’t it be fantastic if there was always a demonic presence in the workplace to blame for your misery? Wouldn’t it be fantastic if you could solve all of your problems by isolating the worst parts of the economy, the worst parts of your boring job, into one horrible person--and dispose of them?
Unfortunately, while Horrible Bosses has a stellar cast (actors named above are joined by Jamie Foxx, Donald Sutherland and Julie Bowen) and a successful setup, the film doesn’t quite deliver on its promise. While certain scenes leave you laughing--notably, a scene with a coked out Day and Bateman--the jokes are often off the mark.
Perhaps Horrible Bosses would have been more aptly titled Horrible Economy, to better illustrate the degree of despair and last resort mentality prevalent in today’s workforce. However, perhaps the film’s best message is the importance of humor and fantasy in times of despair. Sometimes hyperbole is enough.
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