Billed as a comedy, "Swimming With Sharks" rarely came close to that description. It's really a biting satire on corporate greed and climbing the industry ladder literally on the backs (and bodies) of others. I never had a boss from hell of Buddy Ackerman's dimensions, but probably came pretty close. I recall a closed door argument between a company vice-president and one of his subordinate directors, and the underling was no guy/Guy like Frank Whaley's character. You could hear the two yelling at each other across the office before the thing settled down. Fortunately it was so early in the morning most of the staff wasn't in to work yet, but it was quite the show for anyone there.Kevin Spacey excels in an early starring role as the sadistic Buddy Ackerman. The thing is however, he exhibits a disconcerting aura of warmth and humanity at times that runs counter to his normal behavior. His is not the role model they talk about in business school, in fact it was almost refreshing to hear his diatribe about having to work one's way up instead of expecting to start at the top with an expectation of entitlement.You know, for some odd reason I had the impression that Guy was going to shoot Dawn (Michelle Forbes) instead of Buddy, seeing as how he had already endured a year of Buddy's vengeful and abusive behavior. It comes as a shock to most viewers, but if you're going to take a film like this to it's limits, it only makes sense that Guy was going to ensure his career path by going the extra mile. It's called having a job to kill for.

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....)

Not entirely what you'd expect from the promo art, this strange hybrid of chilling suspense and black comedy bears a surprisingly deep, developed cast of characters and a bitter, intense message about the origins of a corporate monster. Kevin Spacey is at his usual best as the pompous, demeaning studio executive with a finger in every pie, while journeyman Frank Whaley (Brett from Pulp Fiction) overplays the wide-eyed, naive farmboy act as Spacey's hapless assistant at the edge. But while early scenes hint this is just another predictable, pull-for-the-little-man light comedy, the narrative's regular flashes forward in the timeline paint a larger, more sinister picture. When the dust settles, Spacey is revealed to be far more complicated and damaged than he lets on, Whaley has worked himself into a deep, dark pit of trouble and neither man is who they were at the outset. Bewildering at times due to the jolting changes in tone and atmosphere, it lingers with the viewer well after the credits have rolled.