Eloise, having been relieved of maid of honor duties after being unceremoniously dumped by the best man via text, decides to attend the wedding anyway, only to find herself seated with five fellow unwanted guests at the dreaded Table 19.
Two hard-partying brothers place an online ad to find the perfect dates for their sister's Hawaiian wedding. Hoping for a wild getaway, the boys instead find themselves out-hustled by an uncontrollable duo.
Luke and Kate are coworkers at a brewery who spend their nights drinking and flirting heavily. One weekend away together with their significant others proves who really belongs together and who doesn't.
Life after college graduation is not exactly going as planned for Will and Jillian who find themselves lost in a sea of increasingly strange jobs. But with help from their family, friends and coworkers they soon discover that the most important (and hilarious) adventures are the ones that we don't see coming.Written by
Get a Job explores interesting ideas about contemporary society, the work situation and the "I deserve it" culture promoted by some families and educative institutions. However, its frivolous tone and occasionally diffuse screenplay screenplay tend to dilute the relevance of those reflections. I have to point out the fact that Get a Job had been "shelved" for 4 years, and it was victim of changes and re-editions without the supervision from director Dylan Kidd, so some of its problems might be due to the manipulation of the producers. Nevertheless, I found Get a Job entertaining, with solid performances and good moments of humor which are helpful to overcome a narrative which needed more dramatic focus. The best attribute from this movie is the performances from Miles Teller as the idealist young man who must evaluate the importance of a formal employment; Anna Kendrick as the demanding and ambitious girlfriend; Bryan Cranston as the veteran "winner" facing the unexpected challenge of competing with rivals who are much younger than him; Alison Brie as a vulgar executive assistant; Marcia Gay Harden, John C. McGinley, Bruce Davison, John Cho and Greg Germann as different faces of the same corporative demon; and Jorge García as the "magic negro" (well, Hispanic in this case) with unexpected advices to navigate the treacherous current of work politics. Those descriptions might suggest a more cynical version of Office Space, but the point of Get a Job isn't laughing at the cubicles, but revealing the fact that there are no easy answers to the work problems: the fault doesn't totally lie on the companies, or the workers, or the economy. Or the point might have been pointing out the unreal expectations which sabotage the productive future of many young people who are (emotionally) badly prepared for the rigors of the "real world". I appreciate the fact that Get a Job inspired those reflections; but the audience has to scratch the slits of the screenplay to find that substance. On the surface, we have a story which should have gone farther to transmit its message: "follow your dreams" is a humbug more harmful than the sad reality.
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