Susan Cooper (Melissa McCarthy) is facing a dilemma in her career, stuck behind a desk doing unglamorous back office work for ungrateful male colleagues who barely acknowledge her presence, stifled in her prospects for progression in a macho work environment, even her tough as nails female boss sees her as too soft. She has slammed straight into a glass ceiling.
These are known issues, the stuff that furrows brows on daytime TV chat shows and fills columns in newspaper and magazine employment columns. Early scenes establish both a history of gradual and insidious crushing of Cooper’s hopes and career goals, but also that she is really, really good at doing her job in a way that is not just unappreciated by the slick go-getters around her, but even by herself.
All of which looks a lot like the set up for an Office Space style comedy of nine-to-five drudgery with a female angle, except for one thing. Susan Cooper is working for the CIA. Not the real CIA, but the sort of movie fantasy version of an intelligence agency that sends out tuxedo-clad super-suave assassins to infiltrate terrorist rings operated by stylish baccarat playing Euro-trash. Basically, Susan Cooper is Midwestern Moneypenny. Continue reading