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Two bored businessmen, exiled to a remote company outpost on a six-week business trip, decide to enliven their visit by romancing a deaf woman and then savagely dumping her. Slimy Chad (Aaron Eckhart) convinces schlumphy Howard (Matt Molloy) to take part in the vicious scheme by framing it as an act of revenge against uppity womankind, but it quickly becomes apparent that he harbors some even more sinister motives. What might have been a simple exploration (some, no doubt, would say reiteration) of straightforward misogyny is elevated by the remarkable performance of Eckhart; at once charming and nauseating, his fascinating interpretation of pure competitive evil dominates the film. Neil LaBute's intelligent script is somewhat reminiscent of Whit Stillman's darker moments (minus the collegiate cleverness and zany warmth), and his direction, while rarely visually impressive, does connote the hellish impersonality of corporate interiors with chilling success. The director-screenwriter deserves additional plaudits for resisting both the tidal pull toward poetic justice and the temptation to draw either of his main characters as even slightly sympathetic. A study in ugliness, a rubbernecker's delight, a time bomb.
--Miles Bethany
Review
Neil LaBute's disturbing and corrosively funny debut feature is pure dynamite as a character study and investigation of the mindset of the corporate male (or perhaps the male in general). As both writer and director, LaBute gives his leading characters enough detail to emerge as flesh-and-blood people rather than caricatures of Bad Men, and Aaron Eckhart and Matt Malloy make the most of their material as Chad and Howard, the yuppies who seek to win and then crush the affections of a hearing impaired co-worker. In this story, Chad and Howard's humanity doesn't redeem them; in fact, they seem all the more repulsive for it, especially Howard, initially the more benign member of the pair, whose fear and distrust of women becomes as ugly as Chad's more obvious misogyny. While Stacy Edwards isn't given as much to do, she makes Christine well-rounded enough to have her own complement of virtues and flaws. The starkly beautiful images evoke Edward Hopper's paintings of urban isolation, as they enhance the film's tone of clinical and sterile detachment. In the
company of men of course carries a double meaning, as the movie indicts American corporate culture as much as (or more than) men as a gender. If you wanted to kick start a heated debate about gender issues at the end of the 20th century, one viewing of this movie gave you all the encouragement you needed. ~ Mark Deming, All Movie Guide
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