In “chaos”, office workers try to get ahead in their careers without actually dying.


In “chaos”, office workers try to get ahead in their careers without actually dying.

In our culture, splash movies always have a special, red-colored place, which has the unique power to reveal the society and the inner.

But now the state of the world is threatening to give up the genre. John Waters, the series of mother and Bobcat Goldthwait god bless the United States, it’s all about every day for murder and murder of ordinary people, but one is in 1994, the other one is in 2011, and in the ubiquitous public striker from a terrible exception into a reality of American life.

So it’s possible to see a mass murderer of disgust at a colleague who can play comedy or catharsis (” this is for my parking space, gerrard! “). But as a society becomes more and more violent, overt and unrepentant, the film does not need to show us how much blood our bodies and souls have. We can see it in person, flooding our streets, schools and churches.

All of this is unfair, and behind the easy, low-budget mugger Mayhem, the company’s American death race is like Raid in office space. Under the direction of director Joe Lynch, the film wants to be remembered at midnight, or as a prank on a movie night every month. However, one of the reasons we may remember Office Space fondly is that its heroes found their fiercest attacks on the printer.

Amid the chaos, a virus to a common law firm of overworked employees become angry induced killing machines, we can pick out the infection, because of a red eyes and stained. But the virus and pink are actually unnecessary, because we already believe that everyone in this company could be murdered. The film is out of the door: chief executive is a Coca-Cola enthusiasts, senior management personnel in her jogging on the treadmill desk, her assistant is hr representative, in black and crutches to walk. What was left was the fuse, which forced them to stay in the building for eight hours, and suddenly the sharp office supplies looked attractive.

At the center of the holocaust was the hero Derek. He was played by Steven Yeun, who was sent to the walking dead last year, and his charming smile and vague sense of deterrence are filling the void in other projects. (in this summer’s Okja, Yeun is so attractive in his small, bilingual role that it’s hard not to want to split the movie with him.) Derek is a intermediate lawyer, with a push pencils of injured soul, which means that he in his spare time to failure and paint their own efforts, although the film is the most sharp satire may in all his works are his colleagues.

When Derek has been obsessed with a cup of coffee cup disappointment, he has become a bad man, and he tried to get mercy from “says”, that is suitable for The company, The severity of The board of directors, they need lock yourself in a special key card into The far away on The floor. However, before they reach their pandemic hit (side effects may include “involuntary, abnormal, shocking impulse”, also known as sex bloodthirsty), and the cubicle farm into a war zone. Derek works with Samara Weaving, a former client of a suicidal death march, and together they walk through the middle ages on the organization chart, collecting the key CARDS that will be quickly tracked to them.

Shoot in bright colors, so we know this is a joke, the sequence of actions is stupid, but often clumsily performed. How many things are happening, with nail guns and scissors, and a very unconvincing dislocated tongue that can feel as sterile as Wednesday morning’s meeting. It’s a lot of b-movie capitalism: Steven Brand, the golf club, howling, crying, “do you know how many hours I’m going to lose? Then someone tried to give us a fan favorite kick blonde, so awkward and hit, it could be a male screenwriter’s idea of a blonde’s ass. (” hey, guys, what if we ask her to say the word?” )

To be fair, although Mayhem’s products are wall to wall violence, they are Wile e. Coyote varieties – they’re not taking it seriously, and we shouldn’t. Splashy film violence is different from ordinary film violence because it has no real foundation and, in turn, frees it from moral responsibility. But the reality soon caught up and it became harder and harder to laugh.


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