Dylan Kidd’s “Get a Job” shot in 2012 but did not see release until 2016 – a four-year gap that did not serve the film well. Rather than an imperfect snapshot of its moment, the “comedy” now plays like a period piece of the recent past. This story of recent college graduates’ rocky entrance into the professional world appears completely oblivious to the kind of pain present in the post-recession economic landscape.
Miles Teller’s Will Davis heads to what he thinks is the first day of work at LA Weekly after years of “building [his] brand” … only to find himself shuffled out the door unceremoniously. In what could play as an “Up in the Air”-style ironic twist (which would have been perfect given the presence of Anna Kendrick), he ends up putting his filmic skills to work creating video résumés at an executive placement firm. Sign of the times? Not really, mostly just a setting where his creative millennial mindset can clash with the stodgy virtues of the company.
The job really only starts to take a topical turn when Will’s dad, Roger (Bryan Cranston), begins to require their services. Despite being a thirty year company man, Roger finds himself looking for a new line of work at the same time as his son. Again, Kidd has another opportunity for topicality through a character displaced in an economy that values ruthless efficiency over loyalty. Still … nothing.
“Get a Job” has a wide ensemble, too, each with their own occupational hazards. Will’s girlfriend Jillian (Kendrick) takes on a position at stalwart P&G that seems sure to launch her career into the corporate stratosphere – until it doesn’t. He also shares a pad with three other pals, each of which trod fairly traditional routes: finance (Brandon T. Jackson’s Luke), education (Nicholas Braun’s Charlie) and start-ups (Christopher Mintz-Plasse’s Ethan). Kidd fashions them as a “Knocked Up” gang of harmless manchildren existing irrespective of time, but their activities suggest that they are really just schlubby stoners who can barely be bothered to turn off their video games.
The message imparted through their turbulent launches into the “real world” is neither timeless nor timely. Perhaps that is par for the course from a film that shrugs off any responsibility to say anything about the world we inhabit. The milieu of “Get a Job” is one where characters can barely achieve any professional success and still sit around slacking off and dreaming big in a cushy bungalow. The characters suggest a celebration of the millennial mindset while the plot gives it a rebuke. Kidd doesn’t send mixed messages, though. Just incoherent, half-baked ones. C / 
Paul Weitz’s “
At a Cannes Film Festival press conference back in 2010, writer/director Woody Allen 
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