Reviews provided by RottenTomatoes
Detroit Free Press:
It is clever and thoughtful and has the added benefit of being about people you may recognize as fellow wage earners, for better or worse.
Ultimately, this workplace fairy tale creates its own cheer. When its time is up, you'll feel like you've been in good company.
Taps into male-specific wants and needs and says a mouthful about the corporate world.
Quaid provides the film with a solid foundation by ably playing yet another strong-willed father figure.
As corporate comedy-dramas go, Company is cheerful and easy to watch but surprisingly inept in the telling.
Los Angeles Times:
In Good Company does have a lot of balls in the air, but thanks to smart acting and expert writing and directing, it handles them pretty well.
It's more fun than Sideways and just as adult, but because it hews closer to genre formula (and therefore is somewhat more obvious), you'll find it on few if any Top 10 lists.
It is at once funny, awkward and true, which puts it in rare company, indeed.
The denouement of the movie is as preposterously happy as a children's fairy tale. But the moral is ageless.
Dallas Morning News:
Heralds the official arrival of Topher Grace as a star in the making. The guy from TV's That '70s Show has the loose, lanky frame and unforced charm to go places in the movies.
The movie's most poignant moments remind you that for every rising star in the corporate world, there's a dutiful old-timer who is suddenly, and sometimes unfairly, deemed expendable.
In Good Company is the perfect comedy for this topsy-turvy age of bottom-lining and pup-eat-dog.
There is enjoyment to be found in the disparate elements, but as far as meaningful cinema goes, the flick falls short of its objectives.
New York Times:
Paul Weitz's engagingly lightweight drama is a gently revisionist fairy tale about good versus evil set on the battlefield of contemporary corporate culture.
New York Observer:
Not only the best American picture of 2004, but also the most grown-up movie to come from Hollywood in recent years.
Feels like a movie written by and for marketing types -- Quaid and Marg Helgenberger (as his wife) to appeal to baby boomers, and Grace and Johansson for Generation Y. That's a business strategy, not a movie.
Despite a static plot where little happens, In Good Company has two strengths to recommend it: strong character interaction and a viciously accurate depiction of the modern corporate philosophy.
A rare species: a feel-good movie about big business. It's about a corporate culture that tries to be evil and fails.
The picture has a pleasurable, good-natured glow. You can diagram its various problems as you're watching it and still walk away feeling you've had a good time.
It manages to be funny and charming while capturing a lot of disturbing things about the way we live now: our deepest fears about our place in a system that could force us to clean out our desks (if we even have desks) at the drop of a stock point.
Minneapolis Star Tribune:
The point of [Weitz's] story isn't to deliver a tidy resolution, but to let us get to know two characters a little and like them a lot.
Globe and Mail:
In Good Company doesn't rise to [Billy] Wilder's level, but it's definitely in the same league.
There are two movies vying for top management position of In Good Company, and the wrong one gets the promotion.
This one's not brilliant, but it has some of [About a Boy's] easygoing charms.
An often lively comedy-drama that lands some nice jabs at the mega-corp ethos, In Good Company makes for pretty good company until going soft when it counts.
In somewhat bad faith, In Good Company abandons its satire of corporate culture to focus on male bonding.