Review of Nine to Five (1980) by Pauline Kael for The New Yorker — 16 Jul 1989
The movie is surprisingly smart about the politics of the glass ceiling, which keeps Tomlin in a pink-collar supervisor position while every man she trains gets promoted past her. The way Coleman asserts his masculinity with phrases like "cut the balls off the competition," and the way our heroic trio works together to sculpt a worker's paradise—complete with flex-time and day-care facilities—serves as an effective summary of the era's hot-button issues.
You can read the full review where it was originally posted online.
This review of Nine to Five (1980) was written by Pauline Kael and published by The New Yorker on 16 Jul 1989.
Nine to Five has generally received positive reviews.
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