Unter Haien in Hollywood

To me, it seems like 1995 was really the year that brought Kevin Spacey into the national spotlight. He played a creepy boss in "Swimming with Sharks", a strange interviewee in "The Usual Suspects" and a serial killer in "Se7en". The first one lets him go all out as a total jerk - and he's a movie producer, so that makes him as bad as can be - making life a living hell for Frank Whaley's newcomer. So it's no surprise that Whaley does what he does.

Is Spacey the actor who most defined the direction that indie films started to take in the '90s? Hard to say, as there were many such actors. But I would say that it's neat how Spacey's characters usually perpetrate misery on other people (like here) or rebel against it (like in "American Beauty"). Overall, this is certainly one that I recommend. Because a paper cut on the tongue can't be anything pleasant.

Also featuring Benicio Del Toro in an early role.

While through the ages, many noteworthy motion pictures detailing the film industry itself have been made, the majority concentrated on a highly positive tone, portraying Hollywood as the organization which "brought dreams to life", or similar self serving platitudes. However, in the early 90s, a new trend began to emerge - films which delved below the glossy exterior of Hollywood and began to expose more negative aspects of the industry. One would be hard pressed to find as fitting an example of this Hollywood introspective neo- realism as writer/director George Huang's semi-autobiographical (but hopefully only to an extent...) Swimming With Sharks - a biting, cynical look at the interior of the film industry which challenges the preconceptions of the industry and its bleak aims.

Like Robert Altman's The Player, Swimming with Sharks offers a harshly critical commentary on the corporate moneymaking machine that is Hollywood, but from the opposite end: the perspective of a low level assistant striving to rise in the ranks. However, similar to Altman's work, Huang's film dabbles with the notion of being a black comedy or darkly satirical take on the business end of the film industry, but ultimately lacks the acerbic wit needed to succeed on such a front. As such, while the occasional moment of darkly gleeful comedic insight may derived, for the most part, the film falters on attempted darkly ironic comedic moments which come across as too heavy handed to be truly funny. The film's main strength is in its strictly dramatic climax; its harrowing and powerful turn of events toying with notions of all consuming ambition and free will in a truly gripping fashion. Combined with a numbingly unexpected and chilling ending scene, the film's finale is easily its strongest point - enough so to carry the occasional botched comic moment from earlier in the film. However, Tom Heil's understated and affecting single piano score and the occasional moment of intriguing cinematography also add to the overall quality of the work.

Kevin Spacey is the main pleasure to behold here as the film's main selling point, the "boss from Hell" figure Buddy Ackerman. Alternating between wryly funny, starkly powerful and disconcertingly human, Spacey, though disappointingly denied the ability to chew the scenery quite as much as one might hope for, easily walks away with the picture with his top notch work. Frank Whaley gives an adequate performance as the constantly put upon assistant who finally seeks revenge, though his character is given next to no development and Whaley lacks the engaging charisma needed to really sell the role. Michelle Forbes also comes across as disappointingly flat as an ambitious business woman caught between Spacey and Whaley, though she shines in certain scenes. Watch also for an early appearance by Benicio Del Toro in a tiny role as Whaley's predecessor.

While it may falter as the black comedy it clearly wants to be throughout, the film excels as the harshly critical drama it becomes by the end. An undeniably maliciously enjoyable performance by Spacey keeps the film afloat, and while it may occasionally come across as lopsided or falling short of its potential, Swimming with Sharks keeps enough surprises up its proverbial sleeve to remain interesting throughout as a cynical treatise on ambition and the film industry which thrives upon it.

-7/10

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

With all the ups and downs of Kevin Spacey's career, 'Swimming With Sharks' kind of came along before he seemed destined to hit the dizzy heights or the crippling lows. Before he hit the big time with 'American Beauty' he played what would eventually become his 'go to' character, i.e. a sleezebag.

Sadly, if the media are to be believed, life has imitated art, but I like to do my best and separate the art from the artist. So, if you can bring yourself to actually watch a Kevin Spacey film these days, this one will certainly showcase much of the acting talent and stage presence that would cement his 'A-list' credentials.

Spacey plays 'Buddy Ackerman' - a 'Harvey Weinstein-esque' type film producer who is well-known in Hollywood circles (you can write your own comparison gag for that one!). And he's a completely b******d (again, draw your own comparisons!). He treats his staff - and in particular his personal assistants - like dirt. Which is not good news for his latest victim/employee 'Guy' (played by Frank Whaley). Although Spacey is the star that doesn't mean he's the main focus. Whaley is the main character whose life we follow as he tries to juggle actually having a life while carrying out/serving his new 'master.'

The film was set in the mid nineties and it shows. Everything from the haircuts to the suits seal it in its time period. The film's look and feel hasn't aged that well, but at least the story seems pretty timeless of a put-upon employee being mercilessly exploited by his employer. The direction is pretty standard for this type of drama/black comedy/satire and there's no memorable soundtrack to speak of. It does tend to do that thing where it starts near the end, so you can see how the characters end up and the bulk of the film is - technically - long flashbacks for us to see how the characters end up the way they are. Personally, I'd prefer to see the story told in a linear fashion as I thought it didn't really need to have time played about with.

I have to confess that I'd never heard of Frank Whaley before I watched this (and I've never seen himself in anything since!) and he does seem a little out of his league while playing up against Spacey's considerable charisma. Whether you love or hate Spacey (on screen or in real life), this is his baby and it's worth a watch just to see his acerbic put-downs.