Orson (Jon Hamm) is an upwardly mobile corporate drone who suffers from Main Character Syndrome in a Kafkaesque work environment, his arrogance so vigorously rubbing against his anonymity that the friction created between those two forces is almost powerful enough to sustain the ultra-droll office satire that “Corner Office” constructs around it.
Adapted from Jonas Karlsson’s lightly surreal (but extremely Scandinavian) novella, “The Room,” Joachim Back’s feature-length debut promotes .Whereas stories about paper-pushing worker drones have been done to death — to the point that Back’s film can seem perversely familiar when it isn’t futzing with the blueprints of reality — the human cog at the center of “Corner Office” might be even more screwed up than the machine he’s screwed into.
It’s hard to say — at least at first.In large part, that’s because this story is subjectively told from Orson’s Pov, and
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