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Reviews provided by RottenTomatoes
Michael Phillips, Chicago Tribune: The Promotion may not be much, and you get to know that supermarket uncomfortably well by the end of the 85 minutes. But as I say: He's an interesting writer. Read more
J. R. Jones, Chicago Reader: Isn't as broad as its premise might suggest. Read more
Mark Rahner, Seattle Times: The directorial debut of Pursuit of Happyness writer Steve Conrad, The Promotion carries a deadpan corporate-absurd whiff of Office Space but never quite scans. Read more
Nathan Rabin, AV Club: There's something appealingly modest about The Promotion. It's a sweet, human movie. Read more
Kerry Lengel, Arizona Republic: As a subtle expression of masculine angst, it's the timid flipside of Fight Club. As a gentle critique of the American dream's descent into empty consumerism, it's a less cutesy, less feminist Little Miss Sunshine. Read more
Wesley Morris, Boston Globe: Read more
Adam Graham, Detroit News: As bad as a severe case of the Mondays. Read more
Lisa Schwarzbaum, Entertainment Weekly: The Promotion edges toward some pretty bleak stuff. Then it steps back and laughs, like an office slacker. Read more
Amy Nicholson, I.E. Weekly: Steve Conrad's wry debut takes place in an urban Chicago grocery store, in which an intimate epic of manhood unfolds. Read more
Scott Foundas, L.A. Weekly: Despite its gimmicky-sounding premise, The Promotion is, like most of Conrad's work, less concerned with matters of winning or losing than with man's sometimes noble, sometimes deplorable, often futile attempts to distinguish himself from the herd. Read more
Rafer Guzman, Newsday: By going easy on everyone, [director Conrad] turns what could have been a searing satire into a lukewarm comedy. Read more
Stephen Whitty, Newark Star-Ledger: It's a little pat and shallow. Read more
Elizabeth Weitzman, New York Daily News: There's still a lot to like here, but ultimately the movie reflects its hapless hero a little too well. While we're constantly rooting for it to succeed, the finish line seems forever out of reach. Read more
Lou Lumenick, New York Post: Easily the worst movie I've seen so far this year. Read more
Andrew Sarris, New York Observer: At last, we have a completely and profoundly American movie with all the classical skills of timing, editing and character development that we associate nostalgically with some Hollywood golden age. Read more
Roger Moore, Orlando Sentinel: The Promotion has more work-life truth in it than a month of The Office or Dilbert. Read more
Steven Rea, Philadelphia Inquirer: The Promotion uses the structure of a workplace comedy to pose gentle moral and ethical questions about treating people right (or wrong), about honor and ambition, truth-telling and back-stabbing. Read more
James Berardinelli, ReelViews: A nice little comedy about what it takes to climb the corporate ladder and the toll such actions take on the psyche of a decent individual. Read more
Roger Ebert, Chicago Sun-Times: It's one of those off-balance movies that seems searching for the right tone. Read more
Peter Hartlaub, San Francisco Chronicle: The strangely paced drama/comedy never finds much of a groove. Elements of conventional madcap comedy butt against more indie-ready scenes of relationship dysfunction, and the end result is more frustrating than interesting. Read more
Philip Marchand, Toronto Star: The Promotion works as a comedy because, in the depths of our dark hearts, we enjoy seeing the woes that beset our comic antagonists. Read more
John Anderson, Washington Post: The portrayal of employment in America is too close for comfort. Or comedy...Not the stuff of lighthearted summer comedy. Read more