Swimming with Sharks

I was so depressed after watching "The Men Who Stare At Goats" that I actively sought out Kevin Spacey movies to help redeem my perceptions of him. I saw "K-Pax" last week, which was adequately engaging, then found "Swimming with Sharks" on the IFC. What a find! This low-cost(less than $1M) film must not have had a very big marketing budget -- it completely escaped me at the time -- but it's one of the best performances Kevin Spacey I've ever seen. An abusive, self-indulgent, arrogant boss in the film industry, his role easily translates into that of a recognizable evil boss in any field. Spacey nicely runs the gamut of expression from god-like to humbled. His once-idealistic assistant is played by Frank Whaley, who never really saw his full potential subsequently develop in his career but has had nice turns in Pulp Fiction and a number of high-production TV series. Whaley too should be commended for his ability to grow the character from a wide-eyed beginning his dream job, to a vengeful warrior out for blood. The film centers on the dysfunctional relationship between these two and is weak only when it attempts to introduce minor roles featuring Michelle Forbes (Maryann on "True Blood") and Benecio del Toro (though these actors perform well with what they've been given).

by Dane Youssef

Now here's a movie for those looking for an attack on white-collar corporate office life, the spinning gears of Hollywood.

"Swimming With Sharks" seems to owe more than a little something to "Dilbert." The movie is more about Corporate America than Hollywood. There are a lot of white-collar touches that apply to offices, cubicles and other such rather than the Hollywood spin machine. Like Robert Altman's "The Player," this is one of those thrillers about people in "the biz" who are driven to the breaking point by how cruel L.A. can really be.

The film's writer/director George Huang himself was a former personal assistant to some of the biggest names in Hollywood, has described the movie as "20% autobiographical." Much of this one is said to be based on his experience working for noted mega-mogul producer Joel Silver for Columbia Pictures. So it should come as no surprise what-so-ever that his first crack at film was his own life story.

Surprise, surprise, huh? Well, more or less.

Despite Kevin Spacey being the big name in this movie and him getting first-billing, Frank Whaley ("Career Opportunities") is the star of this one. Most of anything with him head-lining is a sign of a bad movie ("Cold Dog Soup" and "The Jimmy Show"), but this is one of those where he shines because he's allowed to. He's not the most versatile actor, the best-looking or the most charismatic. He's had a rep as being something of the life-long "bit player." But when he's given a movie, script and part which allows him any headway, he damn well manages to make the most of it.

Spacey, being one of Hollywood's finest and renown, is able to pull off the screaming antagonistic drill-instructor and the restrained, tortured hostage here pitch perfectly.

Whaley effectively plays the green, naive wide-eyed rookie to the Hollywood roulette wheel with his usual perfection, but when the other shoe drops, he doesn't quite pull off the scorned, disgruntled employee seeking revenge. His Jekyll isn't as convincing as his Hyde. He doesn't scare us. He never seems truly unhinged. Maybe that's why Whaley sticks to the youthful deer-in-the-headlights. Whaley doesn't really seem as demented and unhinged as he should in his captor scenes. He's best as a whipping boy--which is why he plays so many.

1994 was the official year for Spacey. He got his breakout with the TV series "Wiseguys," and made the big screen transition with worthwhile fare like his Oscar-winning supporting role in "The Usual Suspects," "The Ref," "Se7en" and this. Spacey monopolized himself in the '94 as "absolute talent" (my term).

Benecio Del Toro, the "Brad Pitt of Mexico" (someone else's quote, believe me, I never dubbed him such) has a quickie cameo as Spacey's assistant who's given his three weeks' notice and is on the way out, making way for Guy. But not before giving Whaley some final parting words of wisdom. "Protect his interests, serve his needs. What you think means nothing. What you feel means nothing. You have no brain. He yells all the time. It's a lose-lose situation." This job is a fast-track shortcut to the top and if Guy does right and keeps his mouth open wide to catch all of Buddy's crap, he may very well be someday on the same mantel as Buddy and his former assistants. Everything Guy'll ever need to know about his job, he learns on day one.

Enter Dawn Locklard (Michelle Forbes of "Guiding Light" and "24"), another powerful Hollywood producer who Guy doesn't have the best first meeting with. She doesn't show a lot of warmth, which explains why she's a producer.

She herself is angry and cynical, and throughout the course of the film, we will see why. She eventually warms up to Guy and asks him out. Guy is stunned. But she needs Buddy on her side and is interested in him getting behind her new project. Guy sees this as an opportunity. Her new project for the studio, "Real Life" may just be Guy's window of opportunity. She seems to be interested in Guy because he's the most real thing she's seen in the Valley for the longest time. But does she really feel something for him or is she just using him? Is Buddy two- faced and back-stabbing or is Dawn? Guy no longer knows what's real and what's what?

Although when Guy starts to show some spine after a lot of Buddy's tantrums, the payoff is almost evenly matched with the faux-sugar scene. Buddy gets to emotionally, verbally (and at times, physically) abuses Guy (and apparently all his assistant's) on every possible occasion. He also gets to skewer just about everyone who crosses his path.

"Swimming With Sharks" is no featherweight comedy for a slow night about a bullying boss like the trailer lead you to believe. It's a film which deals with white-collar office comedy and torturous drama. Shifting from a lightweight comedy to a torturous thriller. It's sort of schizophrenic thing. We're laughing heartily one minute and horrified the next. A lot of time, this one keeps us guessing as it criss-crosses from Buddy torturing Guy to vice-versa.

But there's a lot (maybe too much) about this one that rings too-true to life. A lot of moments filled with the harsh insights and disillusioned truths that one learns from living an uncharmed life. And so there's illuminating light and lessons, as well as laughs. Not to mention some great heavier moments where ugly secrets about Buddy and... well, surprisingly Dawn are revealed.

The plot is over-developed and the ending is more poetic than anything else. But most of the movie really does work and really does sticks with you... like all the great ones do.

--Hoo-Ray For Corporate Hollywood, Dane Youssef

Guy is the latest in a long line of personal assistants to Keystone Pictures executive Buddy. However he quickly learns that he must put up with a torrent of abuse and unreasonable demands. After a year of this he is pushed to the limit and decides to take action – however if Buddy is unreasonable what does it take to make it in show business?

A dark, cruel satire on the business called show. Director writer Huang spent 6 years in Lucasfilms and Columbia so this is very bitter and real. However it manages to be funny and very dark. The plot is told in flashbacks and is very dark. The end is depressing for those of us who believe that Hollywood isn't all egos. The plot does have weaknesses though – Buddy going for a film called Real Life is pretty unlikely but this is a minor flaw.

The main strength here is Spacey. His nasty energy is great and it's impossible to look away when he's onscreen. However when he's not there the film sags a little. Whaley is very good and the mousey personality suits his looks.

Overall it may be a little hard to watch because it is a very bitter tale from Huang, however Spacey is a master and delivers a performance that shows why he became famous.

Powerful movie that shows the nastier, more foul-mouthed side of Hollywood. Guy, played by Whaley, is a Hollywood rookie with no real experience but some lofty goals. The movie charts his learning of the ways of Hollywood through becoming an assistant for fastidious big-shot producer Buddy Ackerman (Spacey), and his subsequent unlearning of the 'normal' moral values that apply almost anywhere else. A remarkable performance from Spacey who is by turns searingly offensive, scathingly funny and (funnily enough) vividly human. Making an audience feel for such a revolting character is a feat not many could accomplish, but Spacey's up to the task. Frank Whaley (possibly known to you through a bit part in 'Pulp Fiction') also turns in a very strong performance as the disillusioned young assistant who falls in love (or rather, in bed) with a female producer played by the sultry Michelle Forbes. Spacey and Whaley's interplay in key scenes is riveting, and for the most part, the younger Whaley manages to stay out of Spacey's shadow.

The movie's ending is quite unforeseeable, and its message can be construed either as darkly humorous satire against Hollywood, or as a nihilistic comment on the ways of mankind. Judging by the not-so-humorous tone of the movie (though ludicrously enough it was marketed as a comedy), to me it feels like the latter applies. Definitely worth seeing, even if only for Spacey. 8/10

From Sunset Boulevard (1950) through to The Player (1992), the dark side of Hollywood has given up juicy material for filmmakers looking to bite the hand that feeds. Not that there is any secret to be revealed here - pretty much everything you need to know about the soulless, spirit-crushing side of movie-making is contained in Raymond Chnadler's 1945 essay "Writer's in Hollywood", which contains more horror than any of the celluloid parodies it has since inspired.

Swimming with Sharks is the tale of innocent Guy (a freshly scrubbed Frank Whaley), whose monster boss is tinsel town king-maker Buddy Ackerman, a screaming, mood-shifting bully who dangles just enough opportunity before Guy to keep him on his leash. But payback is due, and comes in spades.

It is all very dark and delicious, and Spacey gets to rip loose as the psycho boss, the joke being that it is his very lack of sanity and compassion that allows him to thrive in the business. Love interest is supplied by producer Dawn (Michelle Forbes), who allows Guy to stay grounded as he negotiates his way to the top. Dawn and Guy show us that even in Hollywood true love can conquer all - or can it? It is received wisdom that movies about movies don't travel very well. Swimming with Sharks is about delusion and corruption, and how much the human spirit can take. It just happens to be set in Hollywood, but Buddy Ackerman could be Gordon Gecko in a different market. Worth watching to see Spacey enjoying himself in a role where he gets to say pretty much whatever he likes, and does so with relish.