A Company Man (Korean: 회사원; RR: Hoesawon) is a 2012 South Korean action film starring So Ji-sub, Lee Mi-yeon, Kwak Do-won and Kim Dong-jun. It is about a hitman who finds himself targeted by his ex-employers after he falls in love with a single mother and quits his job.
Ji Hyeong-do works for a metal fabrication company which is actually a front for their assassination trade. Hyeong-Do is one of the most skilled assassins. One day, Hyeong-do is assigned to get rid of his young partner Ra-Hun. Ra Hun asks Hyeong-Do to give money to his family as a favor. Hyeong-do visits Ra Hun's home, where he meets Ra Hun's mother, Yu Mi-Yeon, a former singer, and falls in love with her. When Hyeong-do's colleague wants to quit his job at the company as his job has become meaningless to him after his son's death. Hyeong-do is assigned the task of finishing him but finds himself in a life crisis as well, and his bonding with Mi-Yeon is increasing day by day.
The company's boss thinks very highly of him, even though his direct superior, Kwon has a problem with him. Eventually, Hyeong-Do's crisis makes him end up in a situation in which he becomes disloyal to the company and suddenly finds himself to become the target of his former employees. Learning this, Hyeong-go and Mi-Yeon leave for a safe place to start a new life, but Kwon and his colleagues catch up to him and kill Mi-Yeon in front of him and shoots Hyeong-Do, who survives and leaves for his office where he intends to finish them and a shootout ensues, in which Hyeong-Do finishes the assassins and Kwon. Later, the police surround the building, and Hyeong-Do surrenders to the police.
The film achieved one million admissions 12 days after its release. It was sold to 55 countries including Japan, China, Thailand in Asia, as well as France, Switzerland, Austria, the Netherlands and Belgium in Europe.
Executive Vice President Gene McClary challenges GTX CEO James Salinger and his strategy of employee cutbacks, questioning the ethics of spending money to build new corporate headquarters while laying off employees. Angry at being questioned by McClary, his longtime friend, college roommate, and first employee, Salinger asserts that the deep cuts are necessary to increase profits, to increase the stock price and discourage a rumored hostile takeover of the company.
Despite McClary's anger, he has become even wealthier as a shareholder of the firm because the value of his GTX stock options has increased due to the company's downsizing. Yet he feels guilty about his company ruining so many lives and wants to put people to work. Feeling the need for a change, he starts his own business in maritime shipbuilding, the previous specialty of GTX. Walker is the first person he hires.
The Company Men had its world premiere at the 26th Sundance Film Festival on January 26, 2010. The film was purchased by The Weinstein Company, which committed to print and advertising commitment and a theatrical release in the United States and Canada in a mid-seven figure deal.
The film had a minimal release in Los Angeles and New York City on December 10, 2010. The release lasted a week to become eligible for nominations for the 83rd Academy Awards. It had a limited release in 106 theaters in the United States and Canada on January 21, 2011.
Many critics praised the film for telling a story that reflects the economic climate of the United States in the first decade of the 2000s. Rex Reed of The New York Observer stated the film "does a piercing job of making you feel the dehumanizing effects that losing a job can have on grown men, but it's more truthful and devastating than that." Stephen Holden of The New York Times also notes parallels between the 2009 film Up in the Air and praised the performances from Affleck, Jones and Cooper. Chicago Tribune's Michael Phillips praised the cast, but criticized the story, saying that the actual status of the economic climate "demands a tougher, gutsier script."
This is actually a entertaining flick that combines different movie elements into one and pull it off for the most part. It seemed like it combined movies like "A Bittersweet Life", "Wanted", "RED" and maybe even a bit from the film "Fight Club". Never the less despite how wacky and silly this movie gets(intentional or unintentional) it's still a entertaining flick. It just not a very memorable flick but a decent way to pass the time. Although many things in this movie has been done before it's still a decent rehash I guess because I just wasn't really bored with this movie. So Ji-Sub really drives this movie as this charismatic and cool killer that works for a company full of assassins with special sets of skills. So Ji-Sub's style of fighting is not only entertaining but slick and cool. Also the the duel with him and a knife wielding office chick is one of the highlight of this flick. Although there are some areas where they could have gone more ahead with and some aspects of this film seemed rushed and underdeveloped. It's still a watchable flick, even just the climax itself makes it worth a watch. If you like this movie check out "A Bittersweet Life" which is a more gritty and realistic film that has some similar elements as this one.6.9/10
South Korean filmmakers are top of the field when it comes to pumping out incredibly intense, superbly directed action-thrillers with breakneck stunts and action sequences enlivened by super-fast editing and gritty realism. Such films are clearly inspired by the BOURNE movies directed by Paul Greengrass, yet they're very much the equal of those movies.A COMPANY MAN is another instalment in this particular sub-genre and a film whose plot bears more than a passing resemblance to the Korean classic, A BITTERSWEET LIFE. There's plenty of room for social commentary as the main character plays a guy caught in a corporate world, unable to quit the job he's grown tired of and forced to work under his despicable superiors. The twist? That he's a hit-man.What transpires during the film's running time is easily guessable and yet at the same time it's eminently watchable. Ji-seob So does a great job as the gaunt and tired lead you get behind, and the film features a sequence of top-class action sequences to keep it bubbling merrily along. It's a slow builder, this one, leading up to a taut, frenetic and mayhem-filled climax which truly doesn't disappoint. If only all movies could be this entertaining.
Gene McClary (Tommy Lee Jones) has it all. Second-in-command at the Massachusetts multinational firm GTX, he lives in a Tara-like mansion — two Christmas trees in the foyer — with a wife who airily asks if she can use one of the corporate jets for a shopping trip to Palm Springs. He spends the occasional lunch hour in a hotel bed with his blond mistress Sally Wilcox (Maria Bello), the company's HR chief. When GTX stock spikes after the announcement of a drastic staff layoff, Gene glumly notes he got a half-million dollars richer that morning.
One by one these men, and hundreds of their GTX colleagues, join the millions who have lost their jobs in the current Great Recession. Gene, Bobby and Phil have worked their whole careers at a company to which they've devoted at least as much time and energy as they have to their families. GTX is their family; and getting fired from it is like being suddenly disowned by your dad. These upper-middle class men probably thought their decades of expert service, and the levels they've risen to, would insulate them from redundancy. But now they've been sent out into a constricted job market, where "working class" means only those who have work.
Wells was executive producer of two primetime hits created by movie writers — Michael Crichton's ER and Aaron Sorkin's The West Wing — and he fills his first film as writer-director with the virtues of intelligent TV drama: character nuance, relevance to the real world, an even pace that bespeaks trust in an audience's interest and intelligence. Written in the first fester of the Recession, and shot in the spring of 2009, the film is playing for a week in New York and Los Angeles, to qualify for this year's Oscars. It begins a wider release Jan. 21.
They've lost their jobs, and now they've lost their dignity. Phil, pushing 60, needs Botox and hair dye to get his foot in a door; a combat veteran from Vietnam (in his teens, if our math is right), he's advised not to specify which war. And Bobby's glories at GTX mean nothing at other companies, where further indignities await him. For white-collar men of a certain age, the scenes of Bobby sitting in some company's tacky reception area — hopeful and desperate as he waits for a short interview with an executive who, if he shows up at all, treats the candidate like a street mendicant — will carry the same sick dread as anticipating the monster's arrival in horror movies does for teens; it chills the heart, turns the stomach.
The Company Men has earned some rapturously empathetic reviews from film critics, perhaps because they belong to a job sector that's also suffered severe downsizing in the past few years. The movie is no masterpiece: its music score cues the audience's emotions unnecessarily and too obviously; and there's more wish than fulfillment in a denouement that convenes an army of the expendables to make a fresh start. Wells also does Salinger, the CEO, a disservice by drawing him as a self-deluding charlatan — a guy who can't be bothered to calibrate how many employees he could have retained instead of sinking millions into his Taj Mahal of a new office building. And why doesn't the boss fire his old friend Gene himself rather than hand the chore to Sally? Because even a nuanced study needs a cartoon villain. (See TIME's Hollywood covers.)
Like the best TV series, though, The Company Men is rich, thoughtful, assured; it doesn't huff and puff toward hysteria as so many big-screen films do. And its cast manages to suggest the raspy camaraderie of actors who've been around each other for years. Jones, who can make a blank stare look both pensive and homicidal, has the gruff gravitas of a man who's made his way to the top and doesn't lose heart or insight when he hits bottom. Affleck always has trouble simulating high emotion, which he's called on to do once or twice, but he nails Bobby's plunge from hubris to humiliation. And, boy, does Costner get inside Jack, who for half his life has carried a grudge against the more favored Bobby. His rancor has been simmering for so long, it needn't come to a boil to be scalding. He has the rage that men who work with their hands feel for much wealthier men who, he says, "push papers from the In box to the Out box" — the artisan's resentment of the scam artist. 2b1af7f3a8