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In Good Company

In Good Company

Comedy · Drama · Romance · 2004

Dan Foreman is a seasoned advertisement sales executive at a high-ranking publication when a corporate takeover results in him being placed under naive supervisor Carter Duryea, who is half his age. Matters are made worse when Dan's new supervisor becomes romantically involved with his daughter an 18 year-old college student Alex.

Movie details

In Good Company

“He's rich, young and handsome. He's in love with you and he's your dad's boss.”

2004 Comedy · Drama · Romance 1h 50m

Critical arithmetic

One number, for now.

TMDB

6.1 / 10

Community rating

Dan Foreman is a seasoned advertisement sales executive at a high-ranking publication when a corporate takeover results in him being placed under naive supervisor Carter Duryea, who is half his age. Matters are made worse when Dan's new supervisor becomes romantically involved with his daughter an 18 year-old college student Alex.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over In Good Company?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Paul Weitz

Written by

Paul Weitz

Dennis Quaid

Dennis Quaid

Dan

Topher Grace

Topher Grace

Carter

Scarlett Johansson

Scarlett Johansson

Alex

Marg Helgenberger

Marg Helgenberger

Ann

David Paymer

David Paymer

Morty

Clark Gregg

Clark Gregg

Steckle

Philip Baker Hall

Philip Baker Hall

Eugene Kalb

Court is in session

Put In Good Company on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.