Film

Film

by

The feature debut of New York–based film critic Bilge Ebiri, this waggish workplace send-up plays like a photocopy of Office Space with pages of Barton Fink, The Shining, Rosemary’s Baby, and Rear Window collated into its screenplay. It works best as a Buñuelian comedy of harassment, showcasing the titular character (Kelly Miller) increasingly tormented by fax duties, ID card hassles, a cubicle of horrors, remote-controlled toy cars (operated by the boss’s son), and a growing paranoia about his predecessor (locked up in a mental hospital—or was he?—for stapling an intern to death). The movie belies its budgetary constraints with an elegant, 2001-derived visual motif, but from the co-workers’ macho hazing rituals to the pseudo-arty gotcha ending, New Guy never quite locates a sensibility to call its own.