Let's be realistic.

In truth, there is barely enough story here to make a film.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

An old-fashioned movie made with new-fashioned finesse.

Ill-tempered, verbally abusive movie studio chief runs his male assistant ragged with nit-picking requests, keeping the young man firmly under his thumb with constant threats of unemployment; after a year of office-terror, the working stiff finally cracks. Writer-director George Huang has possibly bit off more than he can chew here. His "Swimming With Sharks" isn't a diatribe against Hollywood, nor is it a tribute to the hard-working underling...instead, it's stunt film-making with a twist, a one-trick pony with tunnel-vision. The surroundings don't look or feel like Tinsel Town (perhaps due to a limited budget), and we never get a sense of this stressful environment as a movie-making entity (it could be a realtor's office in the Valley, for all we know). Lead Kevin Spacey, who also served as one of the film's producers, gives a controlled and focused performance as the power-mad mogul whose ego is out of control; he does good work, and yet the character doesn't ring true. We learn so little about him and his acquaintances that his important position and high-ranking status fail to jibe with what we do see; who does this man answer to? what drives him beyond humiliating others for sport? what projects is he juggling aside from the one script we see passed around? The film is so emotionally stunted and underpopulated, it begins to seem like a stage-play padded out for the big screen--and yet one without enough characters or motivations in it. Perhaps Huang wanted to keep things simple, but instead his movie looks like a half-baked project which needed a lot more insight, humor and atmosphere. ** from ****

Way before Kevin Spacey became a horrible boss, he was another real horrible ar..hole boss, where this movie really lets you ponder how far you can let someone push you. Hollywood producer exec, Buddy Ackerman (Spacey) who just revels in the role with flawless brilliance, lets out a string of verbal and physical assaults on a new fish employee, who Buddy has basically kissing his arse. Of course a lot of employees in the real world, who have been bullied, where the boss has made them their ashtray, will identify with this all too well, or painfully so, or to smaller degrees, than Spacey's handling of his employee, Guy, Pulp Fiction's Frank Whaley, suited up, and suited perfectly in this role, worlds away from that psychopathic nutter, in the first Vacancy film. The movie switches back and forth in slick fashion, which doesn't make it lose it intensity at all. Whaley has turned the tables on Spacey, making him his b.tch, holding him hostage in his own palisade house. What sparked this was Guy's new love involvement (Michelle Forbes) who Spacey refers loosely and dismissively to as "a little f..k towel". We continue to cut back and forth to Buddy's mistreatment of Guy, chronologically, until that final straw, and oh, how does he make Whaley suffer. In the end, unfortunately the victim is either of these two, and in that kind of hazy finale, we're left to figure out how it really went down, providing a slick thriller element, you wrack your brain for hours with, and this make does make pensive. I really enjoyed this movie, like I hadn't another one this much, for a while, which Adelaide Cinema's weren't granted a season run. But I recommend this to anyone, as it's another one that's slipped through the cracks, and that goes double if you're a Spacey fan, for you are to witness one of the most dramatically intense, searing, and powerhouse performances from a boss whose methods of intimidation are frightening. A master actor at work, where his two supporting co stars deliver solid. One engrossing film, from start to finish.

Because the Hollywood industry is saturated with those who dream of being on the "inside", some people at the higher levels abuse their positions of power. Some of these regard themselves as the equivalent of demi-gods or priest-like figures, guarding the gates of the temple of the film/entertainment industry. They expect to be worshiped or at least revered, allowing the initiated to pass through. Those who are given a chance to become initiates are sometimes subjected to a kind of hazing process in which the poor initiate is subjected to the whims of the high elites.Kevin Spacey plays Buddy Ackerman, the perfect Hollywood shark, a studio executive who believes everything he says and does should be viewed as "gospel" by those who work under him. Guy (Frank Whaley) is his new assistant, or better stated, his new whipping boy. Guy is greener than an unripe tomato, replacing Rex (Benicio del Toro) of whom Buddy says "is a good for nothing mongoloid" on the first day. But before the first day is over, Guy realizes that this is going to be long term abuse.Spacey makes the perfect vain studio executive. One of the best aspects of his performance is that he wavers between seeming reasonable than flying into rages which would give your average wolverine a runs for its money. He berates Guy for giving him the wrong artificial sweetener. He throws books and papers at him. Even occasionally food. He even makes his assistant embark on impossible tasks, such as destroying every single copy of a Time Magazine issue which contained a scathing article about him. Ackerman's motto is "You are nothing. You're opinion means nothing".As book ends to the narrative, we flash to another part of the story: Guy has kidnapped Ackerman and has tied him. He's torturing him as payback. But the abuse is not the only reason Guy wants Buddy to suffer. As bad as Guy's mistreatment, the worst aspect is the executive's habit of taking credit for the deeds of others. In a poignant scene, Ackerman pretends to praise Guy to another executive, but Guy realizes it was false.A very interesting film, mostly for those who have either worked for or been associated with ego-maniacs. The movie industry is chock full of people who believe they are above everyone else because of certain successes. This gives some of them license to abuse others, particularly because so many desire what few positions are available. As Buddy himself says "Life is not a movie. Good guys lose, everybody lies, and love... does not conquer all."

Its so very quotable and finds Spacey in fine form - "my pencil eraser means more to me than you do" has been uttered often by all my team in the studio!Given it has got low production values, the lighting is grainy and their attention to continuity is poor rather than 'on purpose' it does have a jovial, dark hummer that is much more widely accessible than say the likes of Anchor Man which was equally low budget relying on star quality.Do give it a go with friends and a few beers, it improves the experience no end and then watch Horrible Bosses, 21, Casino Jack and hope that Spacey churns the same character out at least a few more times before he disappears into the artistic roles his Thespian bent so clearly desires - he is a film treasure, under utilized and always great in a film... even when the film is rubbish (Casino Jack....)