HORRIBLE BOSSES From left: That Arrested Development guy, some dude, that SNL guy.

JASON BATEMAN (Arrested Development), Jason Sudeikis (SNL, 30 Rock), and Charlie Day (It's Always Sunny in Philadelphia) are three bumbling, dissatisfied white dudes, trapped by a moribund economy into jobs they hate. Each has a cartoonishly horrible boss—sadistic Kevin Spacey, coked-out Colin Ferrell, sexually aggressive Jennifer Aniston. (Actually, "sexually aggressive" is too mild a term. As the dentist that Charlie Day works for as a hygienist, she squirts water on his crotch and notes that he's uncircumcised.) All three want to quit, but their lack of options is driven home when they run into a friend from high school who's using his Yale degree to give blowies in bar bathrooms.

Concluding that they have no other options, the three concoct a plot to off their bosses, enlisting first a hit man they find on the internet ("wet work" doesn't mean what they think it does), and later a guy they find in a bar—Jamie Foxx, who goes by the brilliantly explained name Motherfucker Jones—to serve as "murder consultant." R-rated comedy and bumbling criminal hijinks ensue. The movie's best jokes, though, are not the low-hanging fruit offered by Jennifer Aniston saying "pussy" a lot—they're in the insult-heavy rapport shared by Bateman, Sudeikis, and Day. The silly, borderline-absurd humor that infuses the three leads' scenes together offsets some of the more generically raunchy, "Can we be the next Hangover, please?"-type jokes.

Am I compelled by feminism to note that there's not a single appealing female character in the thing? Yes, I am. Could I extend that critique to apply to Charlie Day's complaints about how Jennifer Aniston is a "raper"? Yes, I suppose I could, if I hadn't been laughing at them. These guys are terrified of women, black people, and—based on the frequency of prison rape jokes—gays, but the thing is: They kinda should be. The days of the white man's unchallenged cultural supremacy are over, and if that anxiety underlies the film, it also provides a reasonable context for many of its jokes—jokes delivered with offbeat intelligence and charm by Bateman, Day, and Sudeikis.