movie review 9 to 5

Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, nine to five.

Now streaming on:

"Nine to Five" is a good-hearted, simple-minded comedy that will win a place in film history, I suspect, primarily because it contains the movie debut of Dolly Parton . She is, on the basis of this one film, a natural-born movie star, a performer who holds our attention so easily that it's hard to believe it's her first film.

There have been other debuts this unmistakable; you could name Marilyn Monroe, James Dean, John Travolta . And what you'd be talking about in each case would not necessarily be a great dramatic performance in an important movie. You'd be talking about a quality of presence, a personal life force that seems to take over the screen.

"Nine to Five" is only a fairly successful comedy. It has some very funny moments, and then it has some major ingredients that don't work, including some of its fantasy sequences. But then it also has Dolly Parton. And she contains so much energy, so much life and unstudied natural exuberance that watching her do anything in this movie is a pleasure. Because there have been so many Dolly Parton jokes (and doubtless will be so many more), I had better say that I'm not referring to her sex appeal or chest measurements. Indeed, she hardly seems to exist as a sexual being in this movie. She exists on another plane, as Monroe did: She is a center of life on the screen.

But excuse me for a moment while I regain my composure. "Nine to Five" itself is pleasant entertainment, and I liked it, despite its uneven qualities and a plot that's almost too preposterous for the material. The movie exists in the tradition of 1940s screwball comedies. It's about improbable events happening to people who are comic caricatures of their types, and, like those '40s movies, It also has a dash of social commentary.

The message in this case has, to do with women's liberation and, specifically, with the role of women in large corporate offices. Jane Fonda , Lily Tomlin and Dolly Parton all work in the same office. Tomlin is the efficient office manager. Fonda is the newcomer, trying out her first job after a divorce. Parton is the boss's secretary, and everybody in the office thinks she's having an affair with the boss. So the other women won't speak to her.

The villain is the boss himself. Played by Dabney Coleman (of "Mary Hartman, Mary Hartman"), he's a self-righteous prig with a great and sincere lust for Dolly Parton. She's having none of it. After the movie introduces a few social issues (day care, staggered work hours, equal pay, merit promotion), the movie develops into a bizarre plot to kidnap Coleman in an attempt to win equal rights. He winds up swinging from the ceiling of his bedroom, attached by wire to a garage-door opener. Serves him right, the M.C.P.

This whole kidnapping sequence moves so far toward unrestrained farce that it damages the movie's marginally plausible opening scenes. But perhaps we don't really care. We learn right away that this is deliberately a lightweight film, despite its superstructure of social significance. And, making the necessary concessions, we simply enjoy it.

What I enjoyed most, as you have already guessed, was Dolly Parton. Is she an actress? Yes, definitely, I'd say, although I am not at all sure how wide a range of roles she might be able to play. She's perfect for this one - which was, of course, custom-made for her. But watch her in the scenes where she's not speaking, where the action is elsewhere on the screen. She's always in character, always reacting, always generating so much energy we expect her to fly apart. There's a scene on a hospital bench, for example, where Tomlin is convinced she's poisoned the boss, and Fonda is consoling her. Watch Dolly. She's bouncing in and out, irrepressibly.

What is involved here is probably something other than "acting." It has to do with what Bernard Shaw called the "life force," that dynamo of energy that some people seem to possess so bountifully. Dolly Parton on the screen simply seems to be having a great time, ready to sweep everyone else up in her enthusiasm, her concern, her energy. It's some show.

Roger Ebert reviews movies on the Channel 5 news at 10 p.m. Thursday, Sunday and Monday.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

Now playing

Brian Tallerico

Blood for Dust

Matt zoller seitz.

In the Land of Saints and Sinners

Simon Abrams

Asphalt City

Glenn kenny.

We Grown Now

Peyton robinson, film credits.

Nine to Five (1980)

110 minutes

Sterling Hayden as Tinsworthy

Elizabeth Wilson as Roz

Lily Tomlin as Violet Newstead

Dolly Parton as Doralee Rhodes

Jane Fonda as Judy Bernly

Dabney Coleman as Franklin Hart Jr.

Directed by

Colin Higgins

Photographed by

Reynaldo Villalobos

Screenplay by

Patricia Resnick

Produced by

Bruce Gilbert
Charles Fox
Richard Hashimoto

Latest blog posts

Speed Kills: On the 25th Anniversary of Go

Joanna Arnow Made Her BDSM Comedy for You

The Movies That Underwent Major Changes After Their Festival Premiere

Netflix's Dead Boy Detectives Is A Spinoff Stuck In Limbo

9 TO 5: Women Make Things Better

Facebook Data not found. Please check your user ID. Twitter You currently have access to a subset of Twitter API v2 endpoints and limited v1.1 endpoints (e.g. media post, oauth) only. If you need access to this endpoint, you may need a different access level. You can learn more here: https://developer.twitter.com/en/portal/product Youtube 1.1K

STRESS POSITIONS & Interview With Theda Hammel & John Early

ISA TOP 25 SCREENWRITERS TO WATCH Interview With Kathryn Orwig

AMAR SINGH CHAMKILA: A Spiced Venture Of The Formulaic Music Biopics

TRAP Trailer

ENTER FOR A CHANCE TO WIN THE DEPARTED DIGITAL MOVIE!

Interview With Dylan Baker for LAROY, TEXAS

ISA TOP 25 SCREENWRITERS TO WATCH Interview With Thuc Doan Nguyen

Interview With Screenwriter Alessandro Camon For THE LISTENER

No Way Up Democratizes the Underwater Thriller

NO WAY UP Represents The Democratization Of Bad Underwater Thrillers

MONSTER: The Truth About Youth

MoMI First Look 2024: A Wave of Films That Blend Imagery And Medium

THINGS WILL BE DIFFERENT Writer/Director & Cast Interview!

Tuesday Blue hails from the Midwest, spent eight years living…

9 to 5 , the 1980 film starring Lily Tomlin , Jane Fonda , and Dolly Parton , is a great film about women in business taking charge in a male-dominated world by joining forces. The content of the film is surprisingly relevant in 2019 with its message that by working together rather than judging each other, women can make big moves and defeat men in power who are trying to keep them down.

Superstar Trio

9 to 5 is an ICONIC movie I should have seen years ago. Though this film came out in 1980, its message is still, surprisingly and depressingly, relevant today. Just to be clear, this is 39 years after its release! Tomlin is Violet Newstead, the office supervisor at Consolidated Companies and Parton is Doralee Rhodes, the secretary to misogynistic boss Franklin Hart, Jr. ( Dabney Coleman ). Franklin treats Doralee as a sex object so boldly that others in the office believe she is having an affair with her married employer.

Enter Jane Fonda as Judy Bernly, a woman whose husband has just left her. She’s clueless about work and learning the tricks to working in an office (including navigating the largest copier I’ve ever seen), leading to several physically comical actions. Violet, Doralee, and Judy don’t initially hit it off with each other. They have three distinct personalities – as they should considering the talent behind these characters!

Joining Forces

The trio are separately inspired by their boss to do something about his behavior: Violet is upset that he’s given a promotion to an unqualified man over her highly qualified self, Doralee is upset to learn that he was hoping to sleep with her, and Judy – though new – is upset to hear an employee with longevity was fired. The three bond over describing the ways in which they would take revenge on Franklin. An accident the following day gives them an unexpected opening to take over the office which includes hospital, kidnapping, and detective hijinks.

Violet, Judy, and Doralee lead the office to equal pay, on-site daycare, and even help an alcoholic employee through a work-sponsored rehab program in Franklin’s absence. Upon his return he attempts to lay claim to boosting office moral through these new policies. Ultimately the women win out and we see their accomplishments over the credits including Doralee’s journey to become a country singer.

Relevancy Today

The story of Violet, Doralee, and Judy is not unfamiliar nor uncommon today – especially when it comes to the entertainment industry. It is a shame that in 2019 women and minorities are still incredibly underrepresented in this industry, numerous films still fail the Bechdel Test, and teams frequently led by male producers use the “If there were women interested in these roles we would hire them” excuse as though there aren’t qualified female directors, producers, or cinematographers (as well as the rest of crew!) vying for work in this industry.

Women in the film and television industry have job boards and community organizations like Women Make Movies, Women in Media, New York Women in Film & Television, to name a few. These are organizations built for women, by women to promote female-centric projects and productions while posting job opportunities in an effort to provide more opportunities to women in the industry. In a perfect world, these organizations wouldn’t need to exist because employment opportunities would equally vet applicants based on experience. There are numerous examples of men being given big opportunities though technically unqualified (see: Drew Pearce as director for Hotel Artemis with prior experience being a 14-minute short and a handful of Funny or Die videos, see also: Robert Stromberg who had extensive VFX but no directing experience prior to Maleficent ) and few given to women who are qualified.

Aside from the sexism women face in the entertainment industry regarding obtaining employment, hired women in-front-of and behind-the-camera are often faced with inappropriate behavior including disrespectful comments, persistent come-ons, and the even more atrocious – sexual assault. There are plenty of Franklin Harts around today and while they are slowly being weeded out – often after detailed reports come out – they still take up places where the power they yield can cause harm.

9 To 5: Conclusion

Perhaps, rather than being surprised and depressed by its relevance, I should be more surprised that 9 to 5 was even made and released in 1980 considering its subject matter. It’s not likely that a film (that spawned a five-season television show!) with such high-profile talent and visibility would have discussed women in the workplace with such humor and accuracy without Jane Fonda or her production company at the time, IPC Films. The idea came to Fonda after hearing stories by female office workers who were members of a female-centric union for women in the office. The story was initially conceptualized as a drama, however Fonda found that it was coming off “too preachy” and, as a comedy, the film found firm footing.

9 to 5 has laughs from beginning to end, a catchy theme song, clever editing techniques, and inspirational characters who prove that we’re better united than divided. If you haven’t already seen 9 to 5 (as I wish I had!) you’re missing out and I highly recommend giving this female-centric comedy a shot and revel in the inspiration of women taking control of their destinies!

Have you seen 9 to 5? What do you think about the story and its relevancy today? Let us know in the comments below!

Does content like this matter to you?

Become a Member and support film journalism. Unlock access to all of Film Inquiry`s great articles. Join a community of like-minded readers who are passionate about cinema - get access to our private members Network, give back to independent filmmakers, and more.

Tuesday Blue hails from the Midwest, spent eight years living on the West Coast, and now resides in New York City. She earned her degree in film production from Portland State University and currently works as a freelance filmmaker. In addition to creating content she enjoys watching, analyzing, and writing about film and television!

KUNG FU PANDA 4: Enough Wit For One More Kick

RIDDLE OF FIRE: Weston Razooli’s Excellent Adventure

CLUB ZERO: A Satisfying Serving Of Satire

Write for Us
Become a Patron
Comment Policy
Terms & Conditions
Staff Login

Log in or sign up for Rotten Tomatoes

Trouble logging in?

By continuing, you agree to the Privacy Policy and the Terms and Policies , and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes.

Email not verified

Let's keep in touch.

Sign up for the Rotten Tomatoes newsletter to get weekly updates on:

Upcoming Movies and TV shows
Trivia & Rotten Tomatoes Podcast
Media News + More

By clicking "Sign Me Up," you are agreeing to receive occasional emails and communications from Fandango Media (Fandango, Vudu, and Rotten Tomatoes) and consenting to Fandango's Privacy Policy and Terms and Policies . Please allow 10 business days for your account to reflect your preferences.

OK, got it!

Movies / TV

No results found.

What's the Tomatometer®?
Login/signup

Movies in theaters

Opening this week
Top box office
Coming soon to theaters
Certified fresh movies

Movies at home

Fandango at Home
Netflix streaming
Prime Video
Most popular streaming movies
What to Watch New

Certified fresh picks

Challengers Link to Challengers
I Saw the TV Glow Link to I Saw the TV Glow
Música Link to Música

New TV Tonight

The Veil: Season 1
Hacks: Season 3
The Tattooist of Auschwitz: Season 1
A Man in Full: Season 1
Acapulco: Season 3
Welcome to Wrexham: Season 3
John Mulaney Presents: Everybody's in LA: Season 1
Star Wars: Tales of the Empire: Season 1
My Next Guest Needs No Introduction With David Letterman: Season 4.2
Shardlake: Season 1

9 to 5 Reviews

Fonda, Lily Tomlin and Dolly Parton are a formidably charismatic triumvirate.

Full Review | Dec 27, 2023

While the lengthy fantasy sequences take up too much screen time, Fonda, Tomlin and Parton are delightful as three different types of women uniting to fight the patriarchy. The film's subtle racial and class critiques are most welcome.

Full Review | Original Score: 3.5/5 | Jul 6, 2023

It’s a pity Higgins didn’t survive to demonstrate what he could do beyond the confines of the very mainstream features he completed...

Full Review | Jun 12, 2023

As for Dolly, well, she's just about the most pleasant surprise to hit the movies since popcorn. She's smart, sassy, Southern and just sensational And the camera loves her.

Full Review | Mar 4, 2023

The last hour is humorous, but it doesn't deliver on the promise of the first.

Full Review | Mar 3, 2023

A delightfully funny and crisply written film.

Instead of blazing a trail, [Colin Higgins] has opted for the beaten track.

A good rowdy time.

Nine to Five still offers the best laughs of any movie this season.

Nine to Five is a genuine good time that pokes fun at a common target in corporate society, the boss.

Full Review | Original Score: 3/5 | Mar 3, 2023

Nine to Five is so caught up in its own fantasies that it keeps failing to create believable fantasies for all the rest of us.

Nine to Five is a lot of fun.

A movie that's neither carefully observed enough to pass for satire, nor daring and iconoclastic enough to make it a subversive comedy.

A highly unusual case of a Hollywood comedy that's fun -- and yet still makes some intelligent points.

Its farcical script wears a little thin at times, but director Colin Higgins scrambles adroitly.

Full Review | Original Score: 3/4 | Mar 3, 2023

It's basically a harmless harangue that never fails to amuse.

The script has to be considered a failure. Not so the acting. Tomlin is brilliant.

Nine to Five always remains funny and never becomes preachy, a real mark of talent and success.

If you love good comedy and outstanding comic performances, Nine to Five shouldn't be missed.

This one is hardcore, commercial madcap comedy with a slick style, a laugh-a-minute pace, and a very strong trace of television in the forms of its humor.

Cast & crew
User reviews

Metacritic reviews

80 Variety Variety Anyone who has ever worked in an office will be able to identify with the antics in Nine to Five. Although it can probably be argued that Patricia Resnick and director Colin Higgins' script [from a story by Resnick] at times borders on the inane, the bottom line is that this picture is a lot of fun.
75 Chicago Sun-Times Roger Ebert Chicago Sun-Times Roger Ebert Nine to Five is a good-hearted, simple-minded comedy that will win a place in film history, I suspect, primarily because it contains the movie debut of Dolly Parton. She is, on the basis of this one film, a natural-born movie star, a performer who holds our attention so easily that it's hard to believe it's her first film.
70 The New Yorker Pauline Kael The New Yorker Pauline Kael Tomlin confirms herself as a star whenever she gets the material, and Dolly Parton's dolliness is very winning, but it's easy to forget that Jane Fonda is around - she seems to get lost in the woodwork. The director, Colin Higgins, is a young fossil who sets up flaccid, hand-me-down gags as if they were hilarious, and damned if the audience doesn't laugh.
67 The A.V. Club Noel Murray The A.V. Club Noel Murray 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.
63 Chicago Tribune Gene Siskel Chicago Tribune Gene Siskel Nine to Five is a film full or surprises - some pleasant, other disappointing. The most pleasant surprise is the appearance of Dolly Parton, who with this one film establishes herself as a thoroughly engaging movie star. The biggest disappointment is that this Jane Fonda comedy about a trio of secretaries out to get their boss doesn't have more bite. [19 Dec 1980, p.2-1]
60 TV Guide Magazine TV Guide Magazine Lots of laughs, little sense, and pure fantasy. Produced by Fonda's company, NINE TO FIVE is an amusing way to spend 110 minutes, but hardly memorable.
50 Time Out London Time Out London Despite an excellent and promising cast, this Hollywood attempt at a mainstream feminist comedy is flabby and bland...Complacent, and even worse, not very funny, despite the efforts of the ever-excellent Tomlin.
40 The New York Times Vincent Canby The New York Times Vincent Canby The three actresses make an attractive team, but neither the screenplay, by Colin Higgins and Patricia Resnick, nor the director, Mr. Higgins, uses them very effectively. It's clearly a movie that began as someone's bright idea, which then went into production before anyone had time to give it a well-defined personality.
40 Washington Post Washington Post For all the trouble taken, Nine to Five comes out as a very ordinary situation comedy about three bubble heads seeking revenge on a boss who is a big old meanie. The justice of the cause, the abilities of the actresses, the intrinsic interest of the scene -- these are all lost in the frantic efforts to cram in satire, social commentary, slapstick and sexual oppression. There is such a thing as working too hard. [19 Dec 1980, p.19]
30 Washington Post Gary Arnold Washington Post Gary Arnold The new facetious depressant from Colin Higgins -- the screenwriter and now director who has parlayed "Harold and Maude," "The Silver Streak" and "Foul Play" into one of the more baffling winning streaks on record -- runs a merely weak comic premise into the ground with coarse, laborious execution. [19 Dec 1980, p.E1]
See all 12 reviews on Metacritic.com
See all external reviews for 9 to 5

More from this title

More to explore.

Current Affairs

A Magazine of Politics and Culture

I have forgotten my password
Don’t have an account? Subscribe!

Forty Years Later, ‘9 to 5’ Still Speaks the Truth

It’s been four decades since the iconic Dolly Parton-Jane Fonda-Lily Tomlin film dropped, and it’s as relevant as ever.

Hannah Borenstein

Forty years ago, the sound of a typewriter—originally conceived of when Dolly Parton walked around clacking her acrylic fingernails against one another—introduced 9 to 5, the iconic song and film of the same name. Both encapsulated the hopes, desires, disappointments, and challenges working women wrestled with throughout the 1970s. Pouring themselves “a cup of ambition,” three iconic characters from different walks of life marched in their high heels to their office jobs, thinking they might “deserve a fair promotion” only to find out that they were “just a step on the boss man’s ladder.” Their ideas were being used, without credit, and they could find consolation only in the reality that they were “in the same boat with a lot of [their] friends.” When the film 9 to 5 premiered on December 19, 1980, it captured the grievances of working life and emancipatory possibilities of class consciousness in what would become an unlikely classic in the historic labor film archive.

In 9 to 5 Jane Fonda’s character, Judy Bernly, arrives to work at an ominously tall office building. Judy is newly divorced, and new to the workforce. Because the social order in the capitalist society of the time is structured around men receiving salaries and benefits, this is the first time Judy is fending for herself. Wearing oversized glasses, she gets stuck in a closing elevator when she realizes belatedly that she is about to miss her stop. Office supervisor Violet Newstead, played by Lily Tomlin, is rather unenthusiastic about helping Judy settle in, eying her naivete. Violet, after all, is a widow and mother of four, awaiting a long overdue promotion. She offers little reassurance to a flustered Judy: “Don’t worry, you’re gonna get the hang of it. Then you’ll really be sorry.”

Judy soon discovers some of the reasons Violet warned her about the working conditions at the nebulously named Consolidated Companies. Office policy dictates that personal items, plants, and photos on desks are forbidden. Alienation is central to the efficiency ship run by Vice President Franklin Hart Jr. (Dabney Coleman). Hart, who achieved expedient career advancement despite being Newstead’s former trainee, is a typical chauvinist boss. He harasses his secretary, Doralee Rhodes (Dolly Parton), on a regular basis, and literally throws himself on her in one of the earliest scenes. Swiftly, in its introductory sequence, 9 to 5 makes clear that sexual harassment is a workplace issue, and that Hart’s bigoted actions are not a mere result of his individual patriarchal proclivities—they are an integral part of the exploitive foundation upon which Consolidated Companies rests. Contemporary viewers will find what comes next to be eerily relatable, as Fonda, Tomlin, and Parton struggle against the many-armed monster of corporate patriarchy.

When rumors swirled that a sequel to 9 to 5 might be written in 2018, many thought a similarly star-studded production would be particularly well suited to the #MeToo era. After former Charmed star and liberal feminist darling, Alyssa Milano, was mistakenly credited with launching the #MeToo “movement” in late 2017—it was later recognized that Black activist and educator, Tarana Burke, had used the phrase in 2006 —many praised celebrities for speaking out about sexual harassment (and often burnishing their personal brands in the process). While #MeToo has been helpful in elucidating the magnitude of predatory behavior, 9 to 5 captured something that the celebrity-centric movement has largely missed—working class women bear the brunt of workplace sexual harassment.

While raising awareness about sexual harassment at work is important, building power through organizing and unionizing is an vital source of social and structural change, as Alex Press has argued in Vox . Notable cases of workplace organizing did occur around #MeToo, like when hospitality workers in Chicago organized around sexual harassment in 2017 , or when McDonald’s workers launched direct actions around the United States and filed complaints with the Equal Employment Opportunity Commission (EEOC) about workplace harassment in 2018. But the EEOC had already issued guidelines clarifying the unlawfulness of sexual harassment in 1980, the year 9 to 5 was released. Workplace sexual harassment has obviously not become less of an issue since then, demonstrating that legislation alone is often insufficient to advance the interests of workers. To really make workplaces safe and equitable, we must see the oppressions of patriarchy and capitalism as inextricably connected. As the heroines did in 9 to 5, we should understand that the personal is often professional.

Although the roles portrayed by Parton, Tomlin, and Fonda reflect their unique megastar personalities, they simultaneously embody more universal archetypes of working women. And as the plot progresses, the friendship and solidarity that develops between the three women becomes increasingly familiar to anyone who’s leaned on the support of sympathetic colleagues to survive a terrible job. As with many workplace friendships, commiserating about lousy conditions provides the bedrock of the relationship. When their female coworker gets fired for speculating about employee salaries and a sense of helplessness pervades the office, the three protagonists cope by sharing laughs, stories, and fantasies of overthrowing their narcissistic boss at a “pot party” in Doralee’s home.

Here, 9 to 5 spends several minutes indulging in each woman’s revenge fantasy. Judy dreams of Hart running for his life, as the entire office hunts him down with dogs and torches in tow. After confronting him with a rifle in hand and calling him a “sexist, egotistical, lying, hypocritical bigot,” she fires at him as he runs throughout the office, and eventually shoots him while he hides in the restroom. Doralee envisions a Western-style scene in which she rides into a rural office on a white steed and spends a solid minute making lecherous comments about Hart’s physical appearance. When he refuses her more aggressive advances and runs, she lassos him, ties him up, and leaves him to roast over an open fire. Violet’s fantasy includes a Disneyesque fairytale sequence in the office where she, dressed as Cinderella with cartoon animals at her side, poisons Hart’s coffee because he’s (once again) a “sexist, egotistical, lying, hypocritical bigot.” Then she throws him out the window and liberates the other women office workers.

Although these particular fantasies are clearly tongue in cheek, they also depict a critical step to building collective power. Imagining the overthrow of a boss not only inspires camaraderie among working women from different backgrounds, it allows them to break out of an archetypical submissive position and develop—through humor, exaggeration, and absurdity—a collective class consciousness.

The film’s politics are somewhat haphazard from here. The next day after the “pot party,” it appears that Violet has subconsciously acted out her boss-poisoning fantasy when he is found unconscious in his office (in reality, Hart had knocked himself out by leaning too far back in his chair). After a series of comical misunderstandings, the three friends kidnap their boss and hold him hostage. However, no “revolutionary justice” is meted out—they do feel horrified about what they have done, and treat him quite well given the circumstances.

Meanwhile at work, the women take advantage of Hart’s absence to implement a slew of policies they had long dreamed about— including flexible hours, childcare, and equal pay. Morale and productivity skyrocket, and the women see Hart’s presence is less necessary than perhaps previously thought. Doralee wryly notes that Hart is utterly unmissed: “I never realized how unpopular Hart really is. Nobody wants to see him face-to-face.”

Yet once again, 9 to 5 stops short of endorsing an outright leftist worldview. The film’s climax comes when Consolidated Companies’ big boss stops by for a surprise visit: Hart, having just made his escape, blackmails the women into appearing at his side with the intention of making them scapegoats for the chaos unleashed in the office. Instead, the big boss—a tall and imposing patriarch with a deep voice, neat beard, and crisp white suit—is impressed by the changes and decides to “reward” Hart by promoting him to a remote Brazilian post, thus clearing the way for the women to thrive. It’s an on-the-nose liberal deus ex machina , but a satisfying one—the film grossed over $103 million at the box office, making it the 20th highest grossing comedy of all time.

Despite the film’s resonance with the public, highbrow pundits ignored its political value. Vincent Canby of the New York Times was largely dismissive upon 9 to 5 ’s release, stating that the film “begins as satire, slips uncertainly into farce… and concludes by waving the flag of feminism.” He asserted that the film was characteristic of “several other feminist comedies, depend[ent] on enthusiastic, unabashed sexism.” Roger Ebert was more positive , but focused his review on how the film belonged in “the tradition of 1940s screwball comedies… about improbable events happening to people who are comic caricatures of their types… [with] a dash of social commentary.” Ebert was not entirely wrong, but his playful review also did not acknowledge the real political seeds the film planted in the viewer’s mind.

While 9 to 5 is comical and has absurdist tones, Ebert and Canby could not comprehend that the ideas and events depicted were, in fact, steeped deeply in historical and material reality. Perhaps this is because Ebert and Canby—as upper class white men in positions of authority— were situated in positions more similar to that of Hart’s rather than the female workers he harassed and exploited. In any case, 9 to 5 borrowed as much (or more) from reality as it did from imagination.

Even the name of the film was more political than it might appear at first glance. It came from a women’s labor organization called 9to5 , founded in 1973 by labor organizer Karen Nussbaum. As is eloquently elucidated in the podcast episode “Dolitics” in the series Dolly Parton’s America , Nussbaum had met Fonda when the actress was earning the moniker “Hanoi Jane” thanks to her anti-Vietnam War activism efforts in the Indochina Peace Campaign . As Nussbaum sought employment to support her activism as a clerical worker, she very clearly experienced how women’s rights were worker’s rights. She connected with working class women—waitresses, hospital workers, clerical workers, and others, joining with the Service Employees International Union (SEIU) two years later to form Local 935 of the SEIU in Boston.

The 9to5 organization focused on the effects of automation, pay inequalities, medical leave, and sexual harassment and discrimination. To address these aims they used independent research to produce original reports, as well as cultural and comedic forms to advance their causes. These included an annual “Bad Boss Contest” on the Phil Donahue Show, where activists shared stories about their horrendous working conditions and their boss’ near-incomprehensible infractions. In general, the concerns of 9to5 the organization aligned closely with the subject matter of 9 to 5 the film.

The working women of 9to5 didn’t just provide abstract inspiration for the film, they also supplied some of its most subversive ideas. When Fonda took an interest in producing a film about women at work after learning of these stories through Nussbaum, they arranged a meeting with some Hollywood bigwigs and 40 clerical workers. Here, women shared anecdotes about the discrimination they faced, and the brutal fantasies they had of “getting even” with their bosses. The revenge scenarios they shared went beyond the whimsy of those depicted in the “pot party” sequence in the film; many were too gruesome to make it to the silver screen. In an early version of the script, screenwriter Patricia Resnick attempted to include some of these but was overruled by co-writer and director Colin Higgins (along with Warner Brothers executives), turning Resnick’s vision of a dark comedy into one that was much lighter.

It turned out the truth of women’s workplace experiences were more shocking than the fiction portrayed in 9 to 5. It was the sheer absurdity of workers’ lives that reviewers like Canby and Ebert did not fully grasp. The “farce,” “improbable events,” and “comic caricatures” were in fact not that unusual for women working in the United States at the time. The reviewers’ dismissal of 9 to 5 ’s veracity was in large part due to the fact that they did not live in the worlds of these characters; perhaps as media luminaries they could not imagine a scenario where your boss would buy you a scarf, make you try it on in front of him, and make lewd remarks about how good it looked on you. In other words, male reviewers of the time just didn’t have the lived experience to understand what the film was really about.

Leftists are sometimes skeptical about appeals to “lived experience” because it can be used as a cover by liberal feminism to pretend that representation alone in political and cultural spaces automatically means the interests of certain communities will be prioritized. We see this play out in the media when establishment politicians like Kamala Harris are celebrated because of their lived experience, while other progressive politicians like Alexandria Ocasio-Cortez are criticized because of theirs. However, lived experience does have irreplaceable value when it gives insight into aspects of daily life that too often go unexamined. And perhaps this is why 9 to 5 still feels so relevant today—because millions of ordinary workers see themselves, and their lives, represented in the characters played by Fonda, Tomlin, and Parton.

It’s important not to oversell things, of course. While 9 to 5 has more substantial politics than reviewers realized at the time, it’s far from a liberatory manifesto. The film does not address critical issues of race, save for an introductory scene when Violet introduces Judy to a Black man who works in the mail room and expresses frustration at his own lack of opportunities for advancement. Nor does it show much curiosity about other forms of oppression, such as those based on sexuality, ability, or nationality. The film was ahead of its time, but it had plenty of blind spots.

Still, 40 years after 9 to 5 was released, its analysis of U.S. workplace culture still holds up. There is still too much sexual harassment, and still too little worker power. While it’s a stretch to call 9 to 5 a “leftist” film, it does make a powerful case for left ideals and it understands feminism to be a project of solidarity-building that confronts male dominance and corporate profit at once. It recognizes that talking with your coworkers—even having the occasional “pot party”—can be just as radicalizing, if not more so, than reading Marx. For all its faults, 9 to 5 is a wildly entertaining film with a more inspiring vision of feminism than most on offer. It imagines a world where big-time stars use their platforms to advance the goals of working women, with the result being a better life for just about everyone*.

*Except asshole bosses.

More In: Entertainment

Announcing Our Newest Issue

Celebrating our Ninth Year of publication! Lots to stimulate your brain with in this issue: how to address the crisis of pedestrian deaths (hint: stop blaming cars!), the meaning of modern art, is political poetry any good?, and the colonial adventures of Tinin. Plus Karl Marx and the new Gorilla Diet!

The Latest From Current Affairs

Share full article

Supported by

'NINE TO FIVE,' OFFICE COMEDY

By Vincent Canby

Dec. 19, 1980

A SECRETARY is not a toy,'' Frank Loesser proclaimed not too convincingly but most melodically in his hit Broadway musical, ''How to Succeed in Business Without Really Trying.'' Now, nearly 20 years later, we have ''Nine to Five,'' a comedy that turns that classic refrain into a militant cry for freedom.

The film, which opens today at the Sutton and other theaters, stars Jane Fonda, Lily Tomlin and Dolly Parton (in her motion picture debut) as three office revolutionaries who kidnap their male chauvinist boss, rewrite all sorts of sexist office rules and assumptions, become involved with a strange corpse, smoke pot, get drunk, discover the joys of sisterly relationships and, in the process, raise office efficiency to a new, all-time high.

Forget the energy crisis, inflation, recession, job shortages, the disappointing sales of the Chrysler ''K,'' urban blight and the price of gold. There's no problem with capitalism that three liberated Nancy Drews can't solve if they don't have to keep running out to get coffee for their superiors.

Miss Fonda plays Judy Bernly who, recently divorced from a husband who ran off with his secretary, is taking her first job. She's the office innocent. Miss Tomlin is Violet Newstead, the widowed mother of four, an efficient office supervisor whose promotions always go to men whom she's trained and who don't measure up to her anklebones.

Miss Parton is Doralee Rhodes, the boss's executive secretary who wears sweaters two sizes too small and pretends to be utterly surprised when men make passes at her.

The three actresses make an attractive team, but neither the screenplay, by Colin Higgins and Patricia Resnick, nor the director, Mr. Higgins, uses them very effectively. It's clearly a movie that began as someone's bright idea, which then went into production before anyone had time to give it a well-defined personality.

''Nine to Five'' begins as satire, slips uncertainly into farce (when Violet believes she accidentally slipped the boss a lethal doses of rat poison), and concludes by waving the flag of feminism as earnestly as Russian farmers used to wave the hammer-and-sickle at the end of movies about collective farming.

Miss Fonda is an expert comedienne but the character of Judy Bernly is much too capable to seem especially comic. Miss Parton, who sings the title song over the opening credits, plays the down-to-earth, practical member of the team with a modesty that does't quite match her figure. Miss Tomlin has the best lines and the best single sequence in the picture - a fantasy in which, dressed as Snow White, she sweetly destroys the man ruining all their lives.

Considering the militancy of ''Nine to Five,'' it may be fitting that the funniest performance in the film is given by Dabney Coleman, who plays Franklin Hart Jr., the dishonest, sexist boss of the company. Franklin is a fine, lunatic villain, a minibrained tom cat so in the grip of his petty passions that he's not above spilling his pencils on the floor to be able to watch Miss Parton, down on her hands and knees, her cleavage exposed, retrieving them.

There's some sort of lesson to be learned from the fact that the biggest laughs in ''Nine to Five,'' as well as in several other feminist comedies, depend on enthusiastic, unabashed sexism.

''Nine to Five,'' which has been rated PG (''Parental Guidance Suggested''), contains some slightly vulgar language.

Revolt of the Women

NINE TO FIVE, directed by Colin Higgins; screenplay by Mr. Higgins and Patricia Resnick, story by Miss Resnick; director of photography, Reynaldo Villalobos; edited by Pembroke J. Herring; music by Charles Fox and Dolly Parton; produced by Bruce Gilbert; released by the 20th Century-Fox Film Corporation. At the Criterion, Broadway and West 45th Street; Sutton, Third Avenue and 57th Street; RKO 86th Street, at Lexington Avenue, and other theaters. Running time: 111 minutes. This film is rated PG.

Judy Bernly . . . . . Jane FondaViolet Newstead . . . . . Lily TomlinDoralee Rhodes . . . . . Dolly PartonFranklin Hart Jr. . . . . . Dabney ColemanTinsworthy . . . . . Sterling HaydenRoz . . . . . Elizabeth WilsonHinkle . . . . . Henry JonesDick . . . . . Lawrence PressmaMissy Hart . . . . . Marian MercerBarbara . . . . . Ren WoodsBetty . . . . . Norma DonaldsonMaria . . . . . Roxanna Bonilla-GianniniMargaret . . . . . Peggy Pope

9 to 5 (1980) Review: Classics Revisited #11

Facebook Data not found. Please check your user ID. Twitter You currently have access to a subset of Twitter API v2 endpoints and limited v1.1 endpoints (e.g. media post, oauth) only. If you need access to this endpoint, you may need a different access level. You can learn more here: https://developer.twitter.com/en/portal/product Instagram Please check your username. Youtube 1.4K

20 Sad Anime Movies That’ll Make You Cry

21 Best Hindi Films On YouTube

22 Best Indian Thrillers On Amazon Prime (October 2023)

21 Bollywood Movies To Binge Watch On Amazon Prime (Jan 2024)

15 Horror Movies We’re Excited About In 2024, 2025

I'm a published poet, travel writer, and "vintage" pop culture…

Let’s face it. Forty year anniversaries aren’t as popular as twenty-five or fifty. But for a 1980 movie whose stars are still not only performing in showbiz, but downright thriving – why skimp on the celebratory coffee and Skinny & Sweet? Why not take a few moments to cheer?

Colin Higgins ‘ 9 to 5 is a 1980 feminist hootenanny. It has something important to say about gender inequality in the workplace, and does so in a hilariously fun, clever way. The plot: Three mistreated female office workers fantasize about bumpin’ off their “sexist, egotistical, lying, hypocritical bigot” male boss. But, one lady almost goes through with her fantasy – albeit by accident.

Violet, played by the superb Lily Tomlin, accidentally adds rat poison instead of Skinny & Sweet artificial sweetener to her boss’s coffee. (Per Violet – “The boxes are identical except for the skull and crossbones.”) To avoid arrest, Violet and her two co-workers, Judy and Doralee, played by legends Jane Fonda and Dolly Parton respectively, abduct their boss and hold him captive for weeks as they learn that not only is he a “sexist, egotistical, lying, hypocritical bigot” to his female counterparts, but he’s actually been stealing from the company and now they have to prove it. Big gulp. That’s one complicated comedy.

The blackmail plan to spare these ladies from jail is hatched. A nd note that all three ladies are in deep at this point. Aside from the rat poison which originally only put Violet in the hot seat, Doralee’s in deep, too; she ties up their boss, Mr. Hart, with telephone cord in his office. And then Judy almost shoots Mr. Hart, or as Doralee would say, Judy was “acting like he was first prize at a turkey shoot!” Funny stuff. The abduction scene is side-splittingly hilarious, as these three kind-hearted ladies are clearly out of their element. Being bad? As the saying goes – “There’s a first time for everything.”

In the end, after a few cheeky plot twists and turns, all’s well that ends well. T hough the ladies don’t prove Mr. Hart an embezzler (as he beats them to the chase, covering his illegal activity) it doesn’t matter. Chairman Tinsworthy, so impressed by Mr. Hart’s recent positive job performance and enhancements to his department (changes which the ladies actually made), forcibly transfers Mr. Hart to their Brazilian office. M aybe he can work some “magic” down there. I t’s the wilds of the Amazon for this despicable character. Closing credits for the movie reveal Mr. Hart gets abducted yet again – this time by a tribe of Amazons. Most would say “just desserts” for this rotten boss.

And as for Violet, Judy, and Doralee? Violet is promoted to Mr. Hart’s position. J udy marries the Xerox copier representative, and Doralee leaves the company to become a country-western singer. Congrats to them!

Best Actress Academy Award winner Jane Fonda ( Klute , 1971, and Coming Home , 1978) brought 9 to 5 to the silver screen in 1980, and the world can thank her. Daughter of master actor Henry Fonda from the Golden Age of cinema , Jane Fonda is worthy of accolades. 9 to 5 was her chipper little brain-child. And with great folks behind the camera (director, screenwriter, etc.) to help bring her vision to life, Jane Fonda created a unique mix of social conscience, comedy, and plain old-fashioned “great film-making.” She was decades ahead of American society in discussing the prickly issue of gender inequality in the workplace. Gender inequality isn’t funny in 1980 or in 2020, and for her to champion making this film, tackle this tough topic with humor meanwhile not sacrifice its weight – is skillful and commendable.

Then there’s Lily Tomlin. No slouch to comedy herself, Lily Tomlin first gained fame on TV’s lively variety show Laugh-In (1969-1973). Known for her wicked imagination, she created legendary characters like little five-year-old Edith Ann and tough-nut telephone operator Ernestine. Lily Tomlin even won a Tony Award for her one-woman Broadway show ( The Search for Signs of Intelligent Life in the Universe , 1985). And since 2015, she and Jane Fonda, longtime buddies from 9 to 5 , have been starring in the Netflix comedy sitcom Grace and Frankie . Both in their eighties, it’s a pleasure to watch them tear down the house of age-related prejudices. Why stop only at gender inequality in the workplace?

Which brings the viewer to the phrase “pink-collar ghetto” – possibly the most important (and funny) line of 9 to 5 . W hat does it mean anyway? Pink-collar ghetto was a term first used in the 1970s to denote any job that would typically be “relegated” to a female – often school teacher, nurse, or secretary (today, better known as the politically-correct term of “administrative assistant”). These jobs were of lower seniority than men, offered lowered pay, and most often no upward mobility. Thus, women in these positions often felt stigmatized, marginalized, disenfranchised, and stymied. A ll heavy baggage.

These women weren’t white-collar (a term referencing high-paying positions historically belonging to men). Nor were these ladies blue-collar (referencing manual labor positions also historically belonging to men). These women equated their jobs to being stuck in a ghetto, but not just any ghetto – a pink one. “Pink-collar ghetto” is a powerful visual – and Lily Tomlin delivers this line both smartly and comically. Squished in at Charlie’s bar between her new pals Jane Fonda and Dolly Parton, she says – “Face it, ladies, we are in a pink-collar ghetto.” Hilarious. T ragic. 1980 true.

We then complete this feminist trio with Dolly Parton in her big-screen debut. 9 to 5 was Dolly Parton’s very first movie, and it’s the vehicle that catapulted her into the bright lights of Hollywood – after finding unbelievably bright fame as country-western singer-turned TV star on The Porter Wagoner Show (1967-1975).

Back in the day, Dolly Parton was in the royal ranks of singers Elvis Presley and Barbra Streisand. In 9 to 5 , she brings that “star” factor. She also brings a touch of welcome brown suede and fringe – not to mention her signature bright blonde wigs. Importantly, her acting is pitch-perfect. As a viewer, you find it hard to believe it’s her first movie. Today, Dolly Parton still has an exceptionally strong singing career, and does the occasional movie and television special. S he even has her beloved hometown amusement park, which she built back in the 1980s – appropriately called Dollywood.

By definition, 9 to 5 is a farce. I t’s over-the-top. It’s not entirely on the “realistic” level. This film could have easily drifted into a serious PSA (public service announcement) on women’s rights. Instead, it launches full-steam ahead into lovable shenanigans. After all, kidnapping one’s boss is not light fare – it’s pretty criminal. B ut 9 to 5 pulls it off. S o much so that most viewers are probably cheering these three kidnappers on.

This is where the brilliant casting of 9 to 5 becomes apparent. These are three different performers coming from vastly different backgrounds, each bringing her unique brand of magic. They come together to form the ultimate on-screen “power-chick-clique.”

Uber-talented Academy Award winner Jane Fonda plays the dowdy divorcée Judy to perfection. Comedic powerhouse Lily Tomlin shines as Violet in her “bumpin’ off the boss” fantasy – which incidentally lands her smack-dab between some adorable animated woodland creatures. (Yes, hidden gem – 9 to 5 boasts brief animation.) And singer Dolly Parton gives Doralee sass, and a touch of down-home country class. Then add in Dabney Coleman as repugnant boss Mr. Hart, and Elizabeth Wilson as office-gossip Roz, and 9 to 5 ’s supporting cast shines, too.

The result is a movie that feels like a feast. E very shot is a veritable smorgasbord – whether it’s dialogue, a character’s facial expression, or even art direction, and costuming. It’s possible to watch this movie a dozen times and still find something new you hadn’t seen before.

Case in point: During Violet’s “bumpin’ off the boss” fantasy which includes animated characters, watch the “knitting” bunny. It starts out with a small piece of knitwear. B ut by the time Mr. Hart is catapulted out his office window, thus meeting his demise – this bunny has knitted a big grey “gravestone” with the initials R.I.P. (rest in peace). No doubt for Mr. Hart. Giggle-worthy? Absolutely. But easy to miss? Yes. Watch 9 to 5 with hawk-eyes. It has both “big” and “little” comedic jewels.

Dune: Part Two (2024) Explained

9 to 5 also has a stellar theme song – fittingly called 9 to 5. Nominated for an Academy Award for Best Song, it was a huge hit on both pop and country charts back in the early 1980s. Written and sung by Dolly Parton herself, it’s one of her all-time top hits – and has become a “working-class” anthem across the USA. It’s as relatable a song-theme as love and heartbreak.

But if bolting back from Memory Lane and revisioning 9 to 5 for the year 2020, it’s hard to say how it would fare. Who would be cast? And where would it take place? Maybe it could star a talented trio of TV sitcom comics like 2016’s Ghostbusters remake (Kate McKinnon, Kristen Wiig, and Melissa McCarthy). And maybe it would be set in an aircraft manufacturing plant to showcase the modern 2020 woman – “out of the secretary seat” and “into the mechanical engineering cockpit.” All intriguing possibilities.

Still, the legacy of 9 to 5 lies in its novelty. For likely many 1980 moviegoers, it was the first time they glimpsed a “working woman” struggling to make her way up the “corporate ladder.” As mentioned, as a school teacher or nurse, upward mobility wasn’t really present. For instance, a teacher or nurse received a degree in her specific field, and most stayed in her position for life. Upward mobility wasn’t part of the equation. This is still often the case for these roles today.

But a secretary? Not quite the same. Women, like 9 to 5 ’s Violet, could join a company right after high school, learn about the company, work her tail off, excel and take on new tasks, and even “unofficially” lead and become indispensable to both the business and her colleagues. A promotion from time to time would then absolutely be warranted – and a change in job title to reflect the added responsibilities.

But as 9 to 5 shows , the corporate world isn’t always fair. Mr. Hart discloses the real reason Violet is passed up for promotion by a man who she trained and has five years seniority over – “Clients would rather deal with men when it comes to figures” (money). Ouch. I t’s hard to envision 2020 audiences not flying straight into frustration or even boredom with this premise. Frustration at the fact that this type of negative treatment of women still exists. 9 to 5 gave moviegoers a glimpse into something “new” in 1980 . Even if updating to modern-day comediennes and changing the job title to mechanical engineer, the modern moviegoers’ response might be tepid (whether fair or unfair).

9 to 5 is one of those “lightning in a bottle” films. It had all the right dazzling ingredients, and, very importantly, was released at the right time. And even if the topic of gender inequality in the workplace is still unfortunately relevant in 2020, this movie provides a release-valve. It lets the viewer know that there can still be laughter within pain. There can also be beloved friends (smart, fun, and raucously imaginative!) to help you through a bad work-day. As the saying goes – “We’re all in this together.”

For fans of Jane Fonda, Lily Tomlin, and Dolly Parton, 9 to 5 is a “must-see.” You won’t be disappointed. For non-fans, it’s also worth a watch. You get to witness these three superstars hamming it up forty years ago – alongside old-fashioned Xerox copiers and paper rolodexes (small typed or handwritten “contact” cards). Who knows. You might even become a “converted” fan of these actresses. If so, you’ll have a ton of excellent movies to get caught up on since 1980. These ladies have been busy. They were dynamite back then, as they still are today.

Where to Watch: Tubi (free)

I'm a published poet, travel writer, and "vintage" pop culture blogger. I love movies, and especially those dusty old classics. I "heart" the rich history of film.

Decoding Poor Things (2023)

16 Screenwriting Contests Every Writer Should Know Of

Nope (2022) Explained: Plot, Themes And Ending

2024 Oscar Highlights: Oppenheimer Leads Hollywood’s Biggest Night

Dune Part One (2021) Explained: Plot, Themes, And Ending

Oscar Nominations 2024: Best Actress & Likely Winner

15 Great Movies Like Dune

Anurag Kashyap Movies Ranked From Worst To Best

3 Films That Are Film Schools In Themselves: Director Sudhish Kamath Writes

Discover more from Flickside

Subscribe now to keep reading and get access to the full archive.

Type your email…

Awesome, you're subscribed!

Thanks for subscribing! Look out for your first newsletter in your inbox soon!

The best things in life are free.

Déjà vu! We already have this email. Try another?

By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions.

Love the mag?

Our newsletter hand-delivers the best bits to your inbox. Sign up to unlock our digital magazines and also receive the latest news, events, offers and partner promotions.

Things to Do
Food & Drink
Arts & Culture
Time Out Market
Coca-Cola Foodmarks
Los Angeles

Get us in your inbox

🙌 Awesome, you're subscribed!

Time Out says

Despite an excellent and promising cast, this Hollywood attempt at a mainstream feminist comedy is flabby and bland. Fonda is the new secretary in the office, Tomlin and Parton are the veterans who teach her to cope with and combat chauvinistic male oppression, incarnated by embezzling boss Coleman. As one might expect, the three club together in a plot to exact revenge, but as soon as their plans get underway, the film degenerates still further into toothless satire and wish-fulfilment slapstick (notably a fantasy involving Coleman's death). And the climax simply underlines the film's lack of courage in its convictions: the trio's tangle of problems are resolved (happily, of course) by a man. Complacent, and even worse, not very funny, despite the efforts of the ever-excellent Tomlin.

Release Details

Duration: 109 mins

Cast and crew

Director: Colin Higgins
Screenwriter: Colin Higgins, Patricia Resnick
Lily Tomlin
Dolly Parton
Dabney Coleman
Sterling Hayden
Elizabeth Wilson
Henry Jones
Lawrence Pressman

An email you’ll actually love

Discover Time Out original video

Press office
Investor relations
Work for Time Out
Editorial guidelines
Privacy notice
Do not sell my information
Cookie policy
Accessibility statement
Terms of use
Modern slavery statement
Manage cookies
Advertising

Time Out Worldwide

All Time Out Locations
North America
South America
South Pacific

SCARED STIFF REVIEWS

Movies, Video Games, News & More

Movie Reviews

9 to 5 (1980) Movie Review

Amazon/Netflix/HULU/Redbox Suggestions

By Melissa Antoinette Garza

If there is a woman alive who hasn’t had to deal with a barrage of idiocy online from alpha-male morons, who long for the days of female servitude, I haven’t met her. I envy her, but I haven’t met her. To cleanse myself of the latest douche-o-rama, I decided to venture into a film with a likeable sexist and more importantly 3 badass feminine heroes who take the misogynistic goof down with ease.

The film opens with Judy (Jane Fonda) jumping into the job market for the first time. She’s recently divorced and lands an office job where she is shown the ropes by widow Violet Newstead (Lily Tomlin). Violet knows the place like the back-of-her-hand and has been there for years. She’s in line for a promotion, but is denied because her horrible boss Franklin Hart Jr. (Dabney Coleman) wants a man in the position. Making matters worse, Violet not only trained the man who was given her job, but also trained Franklin when he first came to the company.

When Violet brings Judy in to meet Franklin, he’s his normal dick self. He makes some lewd remarks regarding Judy’s looks and then forces Violet to buy his “wife” a present. It is only later that Violet finds out the gift wasn’t for Franklin’s wife, but instead his secretary and suspected mistress Doralee Rhodes (Dolly Parton).

Doralee is my favorite. She’s sweet, tough and happily married! She works hard and is NOT sleeping with Hart! She always thwarts his advances, but the office gossip persists and Franklin encourages it. She hasn’t a clue why everyone is so despicable toward her, but learns when Violet gets angry and spills it.

After learning she was turned down for another promotion, Violet says in front of DoraLee that she’s his mistress. Doralee is horrified by the allegation. After telling Franklin off, she takes the rest of the day off and hits the bar with Violet. Judy also leaves when she finds out a co-worker was wrongfully terminated and gets drinks with them.

The three women immediately bond and decide to go smoke some weed over Doralee’s house. There each one has a fantasy about how they would get rid of Hart.

Judy imagines the entire office hunting him down. Violet sees herself as Snow White poisoning him and throwing him out the window. Lastly, Doralee pictures herself as a boss who hilariously sexually harasses a shy Hart and then lassos him like a cowgirl.

The net day, Violet accidentally uses rat poison instead of sweetener in Hart’s coffee thus setting off a chain of events that mirrors each fantasy. They initially think they’ve killed him, but when he arrives at work the next day a sigh of relief overtakes them all. It’s short-lived when kiss-ass Roz (Elizabeth Wilson) blabs to Hart after spying on the women in the bathroom. She learns and tells everything.

Hart calls Doralee in and says he’ll forget about the attempted murder if she sleeps with him. Doralee is portrayed by Dolly Parton! Do you think that’s going to fly? Hell TO THE No! That badass Goddess ties that motherfucker down. I love Dolly! I love her so goddamn much!

Initially, when everyone is mean to Doralee and she talks to her husband, she’s absolutely adorable. I’ve worked in an office for years and I know how tedious gossip can be. It’s so nice to come home and have a partner put things in perspective. I love that scene.

After Dolly ties her bitch boss up, she tells Judy to watch him while she runs to get Violet. Judy starts off the softest. She actually unties Hart believing him to be injured. When he gets up though, she does grab Doralee’s gun from her purse and shoots at him. It’s awesome. It’s so hilarious!

Violet and Doralee run over hearing the gun shots. Fearing prison, they kidnap him and store him at his house. With Hart out of the way and Doralee knowing how to sign his name, the women start making dramatic changes at work to better the environment and give more to the employees.

All three women ,find themselves when they take over. Violet turns the office into the place she always knew it could be. Doralee clears her name and makes Hart the fool in the process. Lastly, Judy finds her voice and footing both at work and with her sleazeball ex.

This is a classic. Recently, Dolly was on THE TONIGHT SHOW and mentioned a sequel. I can’t wait. The entire cast is fantastic.

Dabney Coleman is absolutely terrific in this. I love him and here he was a comedic genius. If not for hating him so much, the evolution of the women would not have impacted the viewer as much.

Of course, the women run the show and do so marvelously. Jane Fonda, Lily Tomlin and Dolly Parton are fabulous together. Their mutual chemistry made for a genuine and enjoyable watch. The story of their blossoming friendship is done in such a spectacular and hilarious manner. This was a movie about female empowerment, taking down the man and beating down doors; but it isn’t heavy. Instead, it’s laughs from start-to-finish. One can only hope that the sequel brings back this magic.

Scared Stiff Rating: 9/10

51 NEVADA: Amazon Prime Pick of the Week – Alien Fun – Breaking Movie News

CROOKED HOUSE (2008) – Supernatural/Drama Horror MOVIE REVIEW

Late Phases (2014) – HORROR MOVIE REVIEW

Smithsonian channel’s space voyages – dvd review.

Cult/Satanic
Micro Budget

Kingdom of the Vampire (1991) – Horror Movie Review

Invader zim: enter the florpus (2019) – netflix cartoon movie review, mortuary (1983).

Subscribe US Now

Common Sense Media

Movie & TV reviews for parents

For Parents
For Educators
Our Work and Impact

Or browse by category:

Get the app
Movie Reviews
Best Movie Lists
Best Movies on Netflix, Disney+, and More

Common Sense Selections for Movies

50 Modern Movies All Kids Should Watch Before They're 12

Best TV Lists
Best TV Shows on Netflix, Disney+, and More
Common Sense Selections for TV
Video Reviews of TV Shows

Best Kids' Shows on Disney+

Best Kids' TV Shows on Netflix

Book Reviews
Best Book Lists
Common Sense Selections for Books

8 Tips for Getting Kids Hooked on Books

50 Books All Kids Should Read Before They're 12

Game Reviews
Best Game Lists

Common Sense Selections for Games

Video Reviews of Games

Nintendo Switch Games for Family Fun

Podcast Reviews
Best Podcast Lists

Common Sense Selections for Podcasts

Parents' Guide to Podcasts

App Reviews
Best App Lists

Social Networking for Teens

Gun-Free Action Game Apps

Reviews for AI Apps and Tools

YouTube Channel Reviews
YouTube Kids Channels by Topic

Parents' Ultimate Guide to YouTube Kids

Explaining the News to Our Kids

Family Tech Planners
Digital Skills
All Articles
Latino Culture
Black Voices
Asian Stories
Native Narratives
LGBTQ+ Pride
Best of Diverse Representation List

Celebrating Black History Month

Movies and TV Shows with Arab Leads

Celebrate Hip-Hop's 50th Anniversary

Nine to five (9 to 5).

Parents say (3)
Kids say (5)

Based on 3 parent reviews

Yes! All of this!

Report this review, still holds up, slapstick-humored movie tackles important issues.

This title has:

Yes, 9 to 5 really is a feminist movie

This Jane Fonda-Dolly Parton office comedy may be of its time, but don’t underestimate what it says about the transformative power of sisterhood and solidarity.

1 November 2018

By Nikki Baughan

On 19 October, the Guardian ran an opinion piece that scoffed at the notion that 1980s classic 9 to 5 could be regarded as anything approaching a feminist comedy. Anyone who has seen it, asserts the feature’s writer, Ryan Gilbey, “knows that the film bears the same relationship to feminism that Jurassic Park does to palaeontology”.

He goes on to argue that the film does nothing more than “reduce feminism to caricature”.

Get the latest from the BFI

Taken at face value – and squinted at through the narrowest of contemporary lenses – it may be easy to dismiss 9 to 5 as a fluffball 80s romp; a twee, toothless tale of female friendship that has little to do with the advancement of gender issues.

Yet while some details are, admittedly, of their time – oversized glasses, smoking in the office, an unwieldy Xerox machine the size of a small car – the central conceit remains as fresh and relevant as ever.

As written by Patricia Resnick and directed by Colin Higgins , 9 to 5 remains the most rallying kind of socialist feminist fantasy, a rousing exploration of the potentially transformative power of sisterhood, solidarity and unashamed, unrestricted ambition.

This is made obvious in the film’s most striking sequence. Here, fuelled by drink and a burgeoning sense of injustice, colleagues Violet Newstead ( Lily Tomlin ), Judy Bernly ( Jane Fonda ) and Doralee Rhodes ( Dolly Parton ) bond over their revenge fantasies against their odious, incompetent and perverted boss, Franklin Hart ( Dabney Coleman ).

And it doesn’t end there. After a series of unfortunate events involving coffee, rat poison and a bump on the head, the trio kidnap Franklin and keep him under lock and key, using his absence to bring about sweeping changes to their working environment.

The rehiring of unfairly fired female employees, an on-site creche and, fundamentally, the immediate adoption of an equal-pay policy transform the drab, testosterone-fuelled offices of Consolidated Companies into a veritable utopia of gender equality.

It’s fair to say that the film contains some moments that may initially make a modern viewer wince. As a newly divorced woman re-entering the workplace, for example, Judy seems a fool, a klutz, whose real-world experience doesn’t translate into being able to answer the phone or make a photocopy.

That this is more to do with confidence and lack of support than individual ability is, however, glaringly obvious.

Similarly, Doralee is almost cartoonish in her pneumatic looks, which not only attract Franklin’s unwanted attentions but lead everyone else in the office to suspect her of having an affair with the boss – which turns her into something of a social pariah.

As the narrative unfurls, however, the audience is invited to see through such one-dimensional generalisations to the whip-smart, astute agitators who lie beneath.

In his Guardian piece, Gilbey suggests that Franklin is nothing more than a “Carry On buffoon” – that the character is revealed to be an embezzler, as well as a sexual harasser, is proof that the film believes his behaviour towards women is not enough to make him a villain.

In fact, Franklin’s all-around failings work to compound the film’s central point: that no matter how appalling a man is – how crude, incompetent or criminal – he will still find it easier and quicker to climb the professional ladder than any equally qualified woman.

In this case it’s Violet who gets particularly short shrift. Exceptional at her job, and having previously trained Franklin, she’s repeatedly overlooked for promotion. As Parton’s rousing, on-the-nose theme song points out: “They let you dream just to watch them shatter, you’re just a step on the boss man’s ladder.”

Indeed, all of this pointed characterisation is crucial to the film’s central point about the skewed nature of gender politics. It shows a system that continually rewards men, however much of a “sexist, egotistical, lying, hypocritical bigot” he may be, and which ring-fences women based on their looks or social status.

Four decades on and it’s a sad fact that modern women are just as likely to be slapped with narrow labels like ‘mother’ or ‘victim’ or ‘slut’ or ‘difficult’ rather than be defined by their individual skills and achievements.

And on this note, another reason why 9 to 5 is so essentially, obviously feminist is the way in which it helped usher in a new age of working women on screen: women striving for economic independence and defined by something other than their relationship to the men around them.

The film paved the way for movies like Baby Boom (1987), Broadcast News (1987) and Working Girl (1988) – films whose female protagonists go even further in their search for professional success and are given increasing autonomy to act like the men around them.

There can be absolutely no doubt, then, that 9 to 5 remains a clarion call for the women’s movement – a wry, knowing assault on the patriarchy and a punchy acknowledgement of the fight for equality that had been gathering steam since the 1960s. That it couches its messages of equality, liberation, activism and sisterhood in something of a knockabout comedy doesn’t dilute its message. Instead, it actively serves to highlight and ridicule the farcical social doctrines that have worked – and continue to work – to keep women firmly in their place.

And yet it’s a film that knows its limits, or, more accurately, reflects the frustrations of the time in which it’s set. Despite the fact that, by film’s end, the women have used their tenacity and skills to bypass ‘the man’ and bring about real change, they see Franklin take all of the credit and watch as their idea of equal pay for all employees is unceremoniously quashed.

But Violet, Judy and Doralee are certainly not beaten. “We’re only just beginning,” says Violet as the credits roll and, with a #MeToo era sequel in the works, it’s clear that not only does 9 to 5 remain as potently feminist as ever, there is still plenty more to say.

9 to 5 is back in cinemas from 16 November 2018.

Comedy Genius is a season of side-splitting film and TV , at BFI Southbank, on BFI Player and at venues across the UK , from October 2018-January 2019.

A Jane Fonda season also runs at BFI Southbank through November-December.

Stream landmark cinema

Free for 14 days, then £4.99/month or £49/year.

Other things to explore

The roots of neorealism.

By Pasquale Iannone

Support your local police movie

By Philip French

“Few films, in my own experience, have bristled with so many problems”: Michael Balcon on Scott of the Antarctic

By Michael Balcon

an image, when javascript is unavailable

The Definitive Voice of Entertainment News

Subscribe for full access to The Hollywood Reporter

site categories

‘still working 9 to 5’: film review | sxsw 2022.

Jane Fonda, Lily Tomlin and Dolly Parton look at the making of their 1980 hit comedy and its continued political resonance.

By Sheri Linden

Sheri Linden

Senior Copy Editor/Film Critic

Share this article on Facebook
Share this article on Twitter
Share this article on Flipboard
Share this article on Email
Show additional share options
Share this article on Linkedin
Share this article on Pinit
Share this article on Reddit
Share this article on Tumblr
Share this article on Whatsapp
Share this article on Print
Share this article on Comment

Group portrait of, from left, American actresses Jane Fonda (as 'Judy Bernly'), Dolly Parton (as 'Doralee Rhodes'), and Lily Tomlin (as 'Violet Newstead'), as pose in costume for the film '9 to 5' (also known as 'Nine to Five,' directed by Colin Higgins), Los Angeles, California, 1979.

Jane Fonda and her producing partner Bruce Gilbert had already spun issue-oriented storytelling into box office success with Coming Hom e and The China Syndrome when 9 to 5 , their comedy about the plight of female office workers, went into production. It was named after a grassroots organization of women fighting for workplace equality and fair pay, and there was nothing funny about the statistics: There were 20 million female office workers in the American workforce of the 1970s, paid less than 60 cents to the male workers’ dollar, with six out of 100 making it into management ranks. The group 9to5 still exists, workplace parity remains a yet-to-be-achieved goal, and a century after the ERA was introduced, it has yet to become a constitutional amendment.

Still Working 9 to 5

Venue: SXSW Film Festival (Documentary Spotlight)

Directors: Camille Hardman, Gary Lane

The result is a sparky oral history and a tribute to the power of pop culture to spotlight tough problems; critics might have been lukewarm about its broad strokes, but 9 to 5 was the highest-grossing comedy of 1980, made a star of screen newbie Dolly Parton and spun off a TV series and a musical.

With its spirited interviews and well-chosen clips from the movie, Still Working unfolds with terrific momentum, though that energy gives way to a choppier second half: Tracing the feature’s afterlife, directors Hardman and Lane try to cover as many bases as they can, from the globe-hopping reach of the musical based on the movie to pandemic-era changes in the workplace and their effect on women. Still Working 9 to 5 might at times overstate the significance of the 1980 film, and especially its offshoots in other media, but certainly not the issues it showcased.

It’s worth noting that a few months after the December 1980 release of 9 to 5 , Lee Grant’s documentary The Willmar 8 received its festival bow. Charting the 18-month strike of a group of female bank workers in Minnesota, the film, which would never receive a commercial release (it’s now available on Mubi), is a powerful complement to the big-screen hijinks of Fonda and company. It chronicles an important chapter in the history of American labor, centering on the courage of women who, like Tomlin’s Violet (and how many women still today?), were sick and tired of being expected to train men who would become their bosses while they themselves were never considered for promotion.

The making-of aspect of the doc effortlessly shines a light on the gender disparities of the period. As if to underscore the very theme of the movie, 20th Century Fox needed convincing that a feature could be led by three women, without an established male movie star as the villainous boss. (Clips make amply clear that the considerable comic chops of Coleman, who came from TV, are a crucial element of 9 to 5 .)

The central roles were cast before there was a script, and Parton and Tomlin were thrilled to be personally chosen by Fonda, although Parton, a popular country artist, was mildly concerned about the potential fallout from working with “such a radical gal” as antiwar activist Fonda, and Tomlin turned down the role after she read the screenplay and found the jokes lacking. (She was strongly urged to reconsider by her partner, Jane Wagner.) Clips of the three leads’ promotional interviews for the movie, together and separately, capture not just their chemistry but the novelty of the movie’s subject and the curiosity it provoked.

Patricia Resnick, whose initial script was deemed too dark and reworked by director Colin Higgins (who wrote Harold and Maude ), still doesn’t seem happy about the “slapsticky” direction the movie ultimately took. But she would go on to write the book for the 2008 musical (music and lyrics by Parton). Allison Janney, a member of the original Broadway cast, offers a few sharp observations on the message of the material, and Rita Moreno, who starred in a TV series based on the film — one that, by all accounts including hers, didn’t take long to jump the shark — relates how the movie 9 to 5 helped her break free of the idea that things would never be fair for women and there was nothing to be done about it.

Like Moreno, the culture itself would eventually catch up with the outrage beneath the laughs of 9 to 5 . And then, with #MeToo, it would place that anger front and center. In the doc’s most jarring, complicating moment, Hardman and Lane invite our retroactive cringing with a clip of an exuberant Harvey Weinstein, investor and producer of the Broadway show, on opening night.

As it moves into a more general overview mode, though, their film loses steam. A few minutes spent on Lilly Ledbetter, who took her fight for equal pay to the Supreme Court, makes sense, but a sound bite from Arianna Huffington feels perfunctory.

It’s when it sticks to the dynamics of 9 to 5 , onscreen and behind the scenes, that the doc frequently mines gold — as when sound editor Nicholas Eliopoulos recalls a nervous Parton playing her just-written theme song to him before sharing it with Fonda. Over the documentary’s closing credits, that infectious melody is reborn in a minor-key duet between Parton and Kelly Clarkson. It’s one of the doc’s most convincing arguments for the timelessness of the 1980 material. But, putting aside dated jokes in the comedy and unfocused passages in the doc, Still Working 9 to 5 makes its case: For anyone who cares about workplace justice, the work is far from done.

Full credits

Venue: SXSW Film Festival (Documentary Spotlight) Production companies: Mighty Fine Entertainment, Twinzzone Productions, Artemis Rising Foundation Directors: Camille Hardman, Gary Lane Producers: Camille Hardman, Gary Lane Executive producers: Larry Lane, Steve Summers, Shane McAnally, Gary Lane, Camille Hardman, Regina K. Scully, Geralyn White Dreyfous Director of photography: Brian Tweedt Editors: Oreet Rees, Elisa Bonora Composer: Jessica Weiss Sales: The Gersh Agency

THR Newsletters

More from The Hollywood Reporter

Ray chan, art director and production designer for marvel films, dies at 56, box office: zendaya’s ‘challengers’ serving up $14m-$15m opening for no. 1 finish, pauly shore says he “was up all night crying” after richard simmons blasted biopic, ethan hawke shares denzel washington’s advice on winning an oscar, ‘kraven the hunter,’ ‘karate kid’ pushed back by sony, hot docs festival: middle eastern films get spotlight amid israel-hamas war.

‘9 to 5’ Remake in the Works From Jennifer Aniston

By Daniel Kreps

Daniel Kreps

A remake of the classic workplace comedy 9 to 5 — which starred Dolly Parton , Jane Fonda, and Lily Tomlin as three secretaries who seek revenge on their sexist boss — is reportedly in the works, with Jennifer Aniston ’s production company leading the project.

Oscar-winning Juno screenwriter Diablo Cody will pen the screenplay for the “reimagining,” which places the original film in a modern setting, the Insneider first reported and Variety later confirmed . No other plot details or casting decisions — including Aniston herself will play a role — have been revealed.

Meet the MVP of 'Shōgun' — Ex-Punk Rocker and Japanese Movie Star Tadanobu Asano

Team trump is ready to lose the supreme court immunity case. they’re celebrating, billie eilish would like to reintroduce herself, russian mercenaries hunt the african warlord america couldn’t catch.

As the Guardian notes , Aniston previously starred as one of the antagonists in Horrible Bosses , which put a male (and more violent) spin on the 9 to 5 premise. Aniston also previously starred in the Parton-inspired 2018 film Dumplin’ , which Parton also contributed new music too, including a track (“Push and Pull”) sung with the Friends star.

Meet the MVP of 'Shōgun' — Ex-Punk Rocker and Japanese Movie Star Tadanobu Asano

TOKYO DRIFTER
By David Fear

What’s the Story Behind the ‘I Told Ya’ T-Shirt in 'Challengers'?

Game, Set, Match!
By Kalia Richardson and Sage Anderson

SZA and Keke Palmer Land Lead Roles in New Issa Rae-Produced Comedy Film

TriStar Trifecta
By Larisha Paul

Aaron Sorkin Blames Facebook for Jan. 6 and He's Trying to Write a 'Social Network' Sequel About It

Drop The 'The'
By Jon Blistein

Bon Jovi, Forever Young, Comes Face-to-Face With Mortality in 'Thank You, Good Night'

By Joseph Hudak

Most Popular

Anne hathaway says 'gross' chemistry test in the 2000s required her to make out with 10 guys: that's the 'worst way to do it' and 'now we know better', louvre considers moving mona lisa to underground chamber to end 'public disappointment', 'the lord of the rings' trilogy returning to theaters, remastered and extended, vince mcmahon lists final tko shares for sale, you might also like, box office: ‘dune 2’ passes $700 million globally, ‘godzilla x kong: the new empire’ tops $500 million worldwide, nicole kidman’s daughters sunday and faith urban wear monique lhuillier for afi life achievement award gala, the best yoga mats for any practice, according to instructors, bob bakish expected to resign as paramount ceo amid skydance merger talks, messi’s road show shatters another attendance record.

Verify it's you

Please log in.

International edition
Australia edition
Europe edition

9 to 5: The Musical review – Dolly Parton show is saved by standout female leads

Capitol theatre, Sydney Based on the 1980 film, the adaptation is full of frustrating contradictions. But with outstanding performances, you’ll leave with a smile

Get our weekend culture and lifestyle email and listen to our podcast

9 to 5: The Musical is a contradiction.

Based on the beloved 1980 film which starred Dolly Parton , Lily Tomlin and Jane Fonda, the stage show – which premiered in 2008, and opened in Sydney on Thursday – is a newer version of the workplace revenge comedy. It’s packed full of new songs (by Parton) and features a reworked script, but it can’t trust itself enough to leave behind its legacy, looping in pre-recorded video messages from the universally beloved Parton to set up the story and even sing along.

Still set in the 1980s, the story (adapted for the stage by original screenwriter Patricia Resnick) remains the same: three secretaries (played in the Australian premiere by Marina Prior, Erin Clare and Casey Donovan) band together after a series of injustices – and an accidental act of retribution – to take down their sexist boss, Franklin Hart Jr (Eddie Perfect). While he is indisposed, the trio run the company with working conditions that in 2022 still remain a fantasy for most women: job flexibility, free health care, free day care and equal pay.

Erin Clare as Doralee, Marina Prior as Violet and Casey Donovan as Judy in 9-to-5.

Back to the contradictions: the show encourages us through explicit lyrics to resist the urge to judge a woman’s value based on her looks, but also makes Roz (Caroline O’Connor) the butt of the joke for her supposed undesirable appearance. It supports the empowerment of women, but reduces its supporting female characters to unflattering and often deferential stereotypes.

And while it is all about women reclaiming power by raising their voices, the sound design buries their lyrics, and their top notes, in the mix.

Plus, even when the men in the show are supposed to be unpleasant corporate-bros to be laughed at, they’re prominently portrayed with sympathy. As the leader of the male pack, it’s faintly embarrassing every time Perfect appears onstage, playing a truly horrifying boss like it’s endearing. This “ain’t I a stinker?” approach falls flat every time.

A final contradiction: based on the above, the production should be charmless.

In a testament to the power of smart casting, this production of 9 to 5 often rises above the sum of its parts due to the power of its three leads – and a secret weapon, O’Connor, in a should-be thankless role.

Stage veteran Marina Prior’s acting chops are often overlooked in musicals, but her sharp instincts and keen comic timing are in fine form here as Violet (the Tomlin role): the brilliant but often-overlooked supervisor who is denied a promotion in favour of a much younger and less-experienced man. Her wryness and grit ground the action as it veers into the ridiculous.

Rising star Erin Clare steps into Parton’s shoes as Doralee Rhodes, a Southern secretary who is sexually harassed by the boss and ostracised by the other women on-staff, who believe she’s having an affair with him. She comes alive as resident firecracker, channelling her anger into glorious retribution. When she corners Hart, ties him up on the sofa and gives him a piece of her mind, it’s almost as cathartic for us as it is for her.

Bringing the essential but never overly sentimental sweetness is Casey Donovan as Judy Bernley (the Fonda role), a woman entering the workforce for the first time after the end of her marriage. The most successful and thoughtful arc of the show might be her growth in confidence, as she finds community and allyship with Violet and Doralee. Donovan’s powerhouse voice is in fine form in the second-act number in which she finally steps into her power against the men who have hurt her; she earned a spontaneous standing ovation from much of the audience.

As a trio, the women are unstoppable. In the most preposterous scenes, they build upon each other’s performances beat for beat; their growing friendship feels surprisingly authentic, if, as in all musicals, necessarily accelerated and exaggerated.

And then there’s Caroline O’Connor. Roz is so in love with and loyal to Hart that she sells out other women, endorses his misogyny, and even sniffs his scent from his office chair. As a character, Roz undermines the entire premise of the show; her solo number Heart to Hart is essentially an extended joke about a woman who is deemed to be unattractive daring to have sexual desires. But O’Connor almost transcends it all. With her towering voice and loose-limbed slapstick comedy colliding with a genuine peacocking sensuality, she refuses to let Roz be an audience punchline: she makes the number hot, and she makes Roz matter.

Until Hart confronts her at the end of the song. He’s disgusted by her and her sexuality – and while he’s a pig in that moment, he’s also partly an audience surrogate; we’re supposed to laugh at her, too. It’s the one sour note that even the sublime O’Connor cannot overcome.

And yet the four women are magic, delivering the show’s most basic takes on feminism – for equal pay, for equal rights – with a twinkle in the eye for the women watching, earning full-throated cheers.

Hilariously, a man in the audience disapproved. He shushed a cheering group of women sitting by me; one of them turned to him, and in the spirit of the show, informed him with utter disdain that they were allowed to laugh. The show has its faults, but with its perfectly cast women – grinning conspiratorially and singing with breathtaking conviction – it will leave you with a smile.

9 to 5: the Musical runs at Capitol theatre, Sydney until 1 May; it then tours to Brisbane and Melbourne

Dolly Parton

Comments (…)

Jennifer Aniston Set to Produce a Fresh Take on Classic ‘9 to 5’ Movie

There’s exciting news for fans of the iconic film 9 to 5 as a fresh project is underway.

Announced on Wednesday (April 25), Variety has confirmed that actress and producer Jennifer Aniston along with Echo Films’ Kristin Hahn are taking on the production of a re-imagined version of the beloved 1980 film for 20th Century Studios.

The original 9 to 5 , which was directed by Colin Higgins and penned by Patricia Resnick , told the story of three female employees – portrayed by Dolly Parton , Jane Fonda , and Lily Tomlin – who fantasized about taking revenge on their oppressive boss played by Dabney Coleman .

More details below… Variety also mentioned that the new vision for the film is currently in its development phase with Academy Award-winning screenwriter Diablo Cody , known for Juno , Jennifer’s Body , and Lisa Frankenstein , tasked with writing the script.

Previously in 2019, Dolly Parton shared that there was an attempt to create a 9 to 5 sequel, but eventually, the idea was shelved.

FAQ about Jennifer Aniston’s ‘9 to 5’ Re-Imagining

The announcement of Jennifer Aniston’s production of a re-imagined ‘9 to 5’ opens a window of nostalgia paired with the excitement of modern storytelling. With the skilled Diablo Cody at the helm of screenwriting, the project promises a unique take on the classic narrative that resonated with many. Although the previous attempt at a sequel never came to fruition, this new endeavor by Aniston and Hahn may just give ‘9 to 5’ the modern twist it deserves.

Search Please fill out this field.
Newsletters
Sweepstakes

Jennifer Aniston producing 9 to 5 remake with Oscar-winning Juno writer

Diablo Cody will write the script for Aniston's reimagining of the Jane Fonda, Dolly Parton, and Lily Tomlin classic.

Jennifer Aniston has found a new way to make a living by producing a remake of the Jane Fonda , Dolly Parton , and Lily Tomlin movie classic 9 to 5 .

Entertainment Weekly has confirmed that the Morning Show and Friends star's Echo Films production company will partner with 20th Century Studios for the upcoming reimagining of the 1980 film, which followed a trio of working women who band together to get revenge on their sexist boss (played by Dabney Coleman ).

The InSneider was first to report the news, also revealing that Oscar-winning Juno screenwriter Diablo Cody is working on a draft of the 9 to 5 remake script.

David Livingston/WireImage); 20th Century Fox Film Corp./courtesy Everett Collection

Following its initial release in 1980, 9 to 5 became a commercial and critical hit, and its feminist themes cemented it as a pop culture staple for decades to come. The film grossed $104 million at the box office at the time, and spawned both a Rita Moreno -starring sitcom that ran for five seasons throughout the 1980s as well as a 2009 Broadway musical based on the story.

Aniston's Echo Films has produced several high-profile projects across the last decade, including her Adam Sandler sequel Murder Mystery 2, Dumplin', and 2014's Cake , perhaps Aniston's most critically lauded performance to date that led to Best Actress nominations at the Golden Globes, Screen Actors Guild Awards, and Critics Choice Awards that year.

A release date and casting details for Aniston's 9 to 5 remake have yet to be announced.

Sign up for Entertainment Weekly 's free daily newsletter to get breaking TV news, exclusive first looks, recaps, reviews, interviews with your favorite stars, and more.

site categories

Bob bakish to step down as paramount global ceo amid skydance talks, breaking news.

Jennifer Aniston Producing Reboot Of ‘9 To 5’ At 20th Century Studios

By Anthony D'Alessandro

Anthony D'Alessandro

Editorial Director/Box Office Editor

Jackson White To Star Opposite Lily James In 20th Pic Inspired By Bumble's Whitney Wolfe Herd

'Kingdom Of The Planet Of The Apes' Still On Track For $54M+ U.S. Opening - Box Office Update

The movie was spun off into an ABC sitcom of the same name in 1982-1983, as well as a 2008 Broadway musical which earned four Tony nominations. Recently there was a 2022 documentary Still Working 9 to 5 which reflected on the pic’s impact 40 years later.

Cody recently wrote the Focus Features’ movie Lisa Frankenstein which grossed just under $10M stateside. Aniston’s producing credits include The Morning Show , the Murder Mystery Netflix feature franchise, Friends: The Reunion . She also starred in and EP’ed the Netflix movie Dumplin ‘ which had a soundtrack by Parton. In that movie, Aniston and Danielle Macdonald perform the Parton-penned ditty “Push and Pull.”

Insneider had the news about Aniston and 9 to 5.

Must Read Stories

Joe biden & colin jost roast donald trump; red carpet + party photos.

CBS Axes Series After 3 Seasons; Lachey “Gutted”; Stars, Creators React

Zendaya’s ‘challengers’ looks to hit $15 million in its opening set, 86 top “career producers” launch collective to address fees, benefits & more.

Subscribe to Deadline Breaking News Alerts and keep your inbox happy.

Jennifer Aniston Will Co-Produce the Remake of 1980 comedy ‘9 to 5’

‘Juno’ and ‘Lisa Frankenstein writer Diablo Cody is currently working on the latest draft of the re-imagining, which follows the original workplace comedy.

(Left) Jennifer Aniston in 'The Morning Show,' premiering September 13, 2023 on Apple TV+. (Right) Lily Tomlin, Dolly Parton and Jane Fonda in 'Nine to Five.' Photo: 20th Century Fox.

Jennifer Aniston will produce the remake of ‘9 to 5’.
The original starred Jane Fonda, Lily Tomlin and Dolly Parton.
Diablo Cody is writing the script for the new version.

Jennifer Aniston has been working more on the small screen than the big one of late, between her Netflix output and her Apple TV+ series ‘ The Morning Show ’.

But she’s stayed active behind the scenes on movies via her Echo Films company, and has now found something that could be big, if it works to the level of its inspiration.

According to reporter Jeff Sneider , Aniston will produce the re-imagining of classic workplace feminism comedy ‘ 9 to 5 ’.

Nine to Five

What’s the story of ‘9 to 5’?

(L to R) Lily Tomlin Jane Fonda and Dolly Parton in 'Nine to Five.' Photo: 20th Century Fox.

The 1980 original, directed by Colin Higgins from a script he wrote with Patricia Resnick , starred Jane Fonda , Lily Tomlin and Dolly Parton three female office employees who turn the tables on their sexist, egotistical, lying, hypocritical bigot boss played by Dabney Coleman .

It was a massive hit in its day, earning more than $103 million at the box office. Parton contributed the iconic theme song, which was nominated for an Original Song Oscar, went platinum and was also nominated for four Grammy Award nominations, winning Best Country Song and Best Country Vocal Performance.

In terms of spin-offs, it inspired a sitcom (starring Rita Moreno ), ‘Nine to Five’ that ran for five seasons in the 1980s, while a 2008 Broadway musical (with music and lyrics by Parton), earned four Tony nominations.

More recently, a documentary released in 2022, ‘ Still Working 9 to 5 ’ looked at the movie’s continuing cultural impact.

So, why is Jennifer Aniston looking to produce the remake?

Jennifer Aniston in 'Rumor Has It.' Photo: Warner Bros. Pictures.

While it certainly sounds like something Aniston would be interested in regardless –– her company has, after all, been involved in projects such as ‘The Morning Show’, which also tackled attitudes towards women in the workplace.

A closer connection might be Netflix movie ‘ Dumplin ’, which also saw her starring and producing, and had a soundtrack featuring songs by Parton.

When will the new take on ‘9 to 5’ arrive in theaters?

With the movie still at such an early stage, there is no information about a release date yet, and 20th Century Studios has yet to announce anything.

Other Jennifer Aniston Movies:

' Office Space ' (1999)
' Bruce Almighty ' (2003)
' Along Came Polly ' (2004)
' The Break-Up ' (2006)
' Marley & Me ' (2008)
' Just Go with It ' (2011)
' Horrible Bosses ' (2011)
' We're the Millers ' (2013)
' Horrible Bosses 2 ' (2014)
' Cake ' (2014)
' Office Christmas Party ' (2016)
' Murder Mystery ' (2019)
' Murder Mystery 2 ' (2023)

Buy Jennifer Aniston Movies On Amazon

More News on Moviefone

'Another Day in America' Interview: Emilio Mauro

Movie Reviews

The Ministry of Ungentlemanly Warfare poster

Follow Moviefone

Movie trailers.

Jennifer Aniston to Produce ‘9 to 5’ Reimagining for 20th Century Studios

By Michaela Zee

Michaela Zee

Harvey Weinstein Hospitalized After Rape Conviction Overturned in New York 16 hours ago
Jennifer Aniston to Produce ‘9 to 5’ Reimagining for 20th Century Studios 3 days ago
Rebel Wilson’s Memoir to Be Published in U.K. With Sacha Baron Cohen Allegations Redacted 4 days ago

Jennifer Aniston is ready to pour herself a cup of ambition.

Aniston and her Echo Films partner Kristin Hahn are producing a “ 9 to 5 ” reimagining for 20th Century Studios, Variety has confirmed.

The film is currently in development, with Diablo Cody (“Juno,” “Lisa Frankenstein”) working on the latest draft of the “9 to 5” reimagining. Plot details are being kept under wraps.

Popular on Variety

Aniston’s recent producer credits include “The Morning Show,” the “Murder Mystery” film series and “Friends: The Reunion.” She also starred in and executive produced the 2018 dramedy “Dumplin’,” which features a soundtrack album by Parton. Aniston and her “Dumplin'” co-star Danielle Macdonald performed the song “Push and Pull” with Parton for the Netflix film.

Aniston is represented by CAA and Lighthouse Management and Media.

Insneider was first to report Aniston producing the “9 to 5” reimagining.

More From Our Brands

The devil you know, inside a $3.3 million one-bedroom condo in l.a.’s famed sierra towers, messi’s road show shatters another attendance record, be tough on dirt but gentle on your body with the best soaps for sensitive skin, ncis: hawai’i stars react to cancellation: ‘this is a huge loss for representation’, verify it's you, please log in.

Screen Rant

Infested review: a horror movie about spiders made me feel like it was 2020 again.

I'm hardly going to complain about a monster movie where the monsters, not the humans, feel underdeveloped. It plays so much better than the reverse.

Infested is more than just a creature feature - it's a character-driven ensemble piece about disaster and community.
The film explores pandemic-era themes like isolation and quarantine, along with police violence and racial discrimination.
While the spiders in Infested are terrifying, the true source of tension comes from the well-developed characters and realistic horrors.

To call Infested ( Vermines ) a creature feature is both literally true and somewhat misleading. The French horror film by writer-director Sébastien Vaniček is, at the literal level, about an apartment building that becomes the hunting ground of absurdly dangerous spiders. But that's only part of what's going on in this movie, and perhaps its weakest element. The spiders aren't exactly shortchanged; arachnophobes will undoubtedly find this tough to sit through. They just aren't the true source of tension.

Infested (2024)

Fascinated by exotic animals, Kaleb finds a venomous spider in a bazaar and brings it back to his flat. It only takes a moment for it to escape and reproduce, turning the whole place into a dreadful web trap.

Creates a compelling ensemble of well-developed characters
Explores pandemic-era themes that really hit home
The script grounds everything in reality
The monsters end up overshadowed by more realistic horrors

Instead, Vaniček presents us with something better. Infested is a character-driven ensemble piece about a marginalized community visited by disaster , and how that disaster both tears them apart and brings them closer together. Faced with arachnid swarms, these people don't merely fear dying, but dying alone, without saying goodbye, or before making long-overdue amends. The film is savvily aware that the unreality of an overrun building pales in comparison to being trapped there by a too-plausible, police-enforced quarantine. Those expecting to sit down and switch off will find this monster movie more affecting than they bargained for.

Infested Actually Takes The Time To Develop Its Characters

So we really care when things take a turn.

After a killer prologue showing how smugglers catch these spiders in a Middle Eastern desert to sell on the black market, we meet Kaleb (Théo Christine), the poor soul who purchases one from the back room of a local shop. We follow him for some time before any carnage begins and come to understand his life, and the lives of those around him. His neighbors come from a wide range of racial and immigrant backgrounds. The building they live in is run-down, and opportunities for its inhabitants are limited.

If Infested suffers from anything, it's that Vaniček makes its characters and themes too real, and the monsters can't keep up. I'm still torn on whether that's a bug or a feature.

The narrow line Kaleb is trying to walk is quite skillfully drawn in Infested 's early scenes . He loves this place and these people; a love instilled in him by his mother, who has passed recently enough that the wound is hardly scabbed over. His sister, Manon (Lisa Nyarko), is fixing up their apartment herself to get it ready to sell, which he sees as a deep betrayal. He, instead, has started selling quality sneakers out of his storage locker, hoping for a path to financial stability that isn't on the harder side of crime.

He tries to nudge the other young men around him away from that, too, but the pressure is clearly there. And there's a gnawing sense that his good intentions might not matter — one neighbor, the building's voice for white male hostility, treats him like he's dealing drugs anyway. They certainly matter to us, though. The film's approach to dialogue gives every character we meet, however briefly, a touch of realism that grounds us in this world, but it's Kaleb's perspective that sells it. Seeing this community through his eyes gets us invested in it pretty quickly.

Which makes it all the more tragic that Kaleb's purchase proves its downfall. The spider is meant to be part of the collection of creatures (ranging from insects to frogs to fish to a rare scorpion) he keeps in his room, the endurance of a childhood dream. It doesn't stay in its box for long, and gets right to multiplying. Before Kaleb even notices it's gone, the first unsuspecting victim dies a painful, disfiguring death.

Infested Makes A Compelling Horror Movie About 2020

And undercuts its monsters in the process.

Infested , whether thematically or stylistically, recalls movies like Attack the Block , Cloverfield, and (occasionally) the 2022 French film Athena . But from the handling of this first death, which everyone at first assumes is due to some rare disease, I understood it first and foremost as a 2020 movie . The infestation isn't purely a metaphor for the pandemic, but the imagery of isolation and quarantine makes the parallel pretty clear. And the film's interest in the distrust this immediately sows between these tight-knit people puts that imagery to good use.

I say 2020 movie, not pandemic movie , because police violence gets equal attention. The racial makeup of this building's inhabitants and the discrimination they face is already text when cops in riot gear are dispatched to deal with the potential deadly outbreak. Sequences follow that make very clear how the institutions supposedly protecting and serving these people end up hurting them, even if at first by tragically misunderstanding the threat. Another example of good intentions not amounting to much.

If Infested suffers from anything, it's that Vaniček makes its characters and themes too real, and the monsters can't keep up . I'm still torn on whether that's a bug or a feature. That a fantastical horror film scenario should feel less scary than horrific things we've lived through is only natural, and would look pretty good as a movie's "point," if that's what Infested is after. Regardless, I'm hardly going to complain about a monster movie where the monsters, not the humans, feel underdeveloped, when it plays so much better than the reverse.

Infested is available to stream on Shudder from Friday, April 26. The film is 106 minutes long and is not yet rated.

IMAGES

9 to 5 (1980) Review: Classics Revisited #11
9 to 5
Nine to Five streaming: where to watch movie online?
9 to 5 (1980)
Movie Review: 9 to 5 (1980, HBO Max Streaming)
9 to 5

VIDEO

"9 to 5" (1980)
9 TO 5: Was It Great or Were You 8?
9 to 5 (1980) Trailer #1
9 TO 5 (1980) Movie Reaction!
Jane Fonda talks about her film NINE TO FIVE
9 To 5 Trailer

COMMENTS

Nine to Five movie review & film summary (1980)
Nine to Five. "Nine to Five" is a good-hearted, simple-minded comedy that will win a place in film history, I suspect, primarily because it contains the movie debut of Dolly Parton. She is, on the basis of this one film, a natural-born movie star, a performer who holds our attention so easily that it's hard to believe it's her first film.
9 to 5
Rated: 3.5/5 • Jul 6, 2023. Jun 12, 2023. Mar 4, 2023. Office satire about three female secretaries who decide to get revenge on their tyrannical, sexist boss by abducting him and running the ...
9 to 5 review
9 to 5 review - Dolly Parton's quietly radical office revenge satire. This article is more than 5 years old. Thirty-eight years on, this tale of misogyny, kidnap and rattling typewriters is a ...
9 to 5 (1980)
9 to 5: Directed by Colin Higgins. With Jane Fonda, Lily Tomlin, Dolly Parton, Dabney Coleman. Three female employees of a sexist, egotistical, lying, hypocritical bigot find a way to turn the tables on him.
9 to 5 (film)
9 to 5 (listed in the opening credits as Nine to Five) is a 1980 American comedy film directed by Colin Higgins, who wrote the screenplay with Patricia Resnick.It stars Jane Fonda, Lily Tomlin, and Dolly Parton as three working women who live out their fantasies of getting even with and overthrowing the company's autocratic, "sexist, egotistical, lying, hypocritical bigot" boss, played by ...
9 TO 5: Women Make Things Better
9 to 5, the 1980 film starring Lily Tomlin, Jane Fonda, and Dolly Parton, is a great film about women in business taking charge in a male-dominated world by joining forces.The content of the film is surprisingly relevant in 2019 with its message that by working together rather than judging each other, women can make big moves and defeat men in power who are trying to keep them down.
Nine to Five (9 to 5) Movie Review
Our review: Parents say ( 3 ): Kids say ( 5 ): The movie is outrageous and silly -- but oh, how satisfyingly to-the-point. When it was released in 1980, this farcical tale struck a chord with audiences in early stage awareness of office misbehavior of the sexual kind.
Nine to Five (1980)
This has to be a true classic movie for anybody. Parton, Fonda, Tomlin play the three main characters set in a big business office block, "Consolidated". Dolly Parton is excellent, portraying the country girl, Jane Fonda as the divorced housewife's first job role, and Lily Tomlin as the bosses stepping stone.
9 to 5
Nine to Five is a genuine good time that pokes fun at a common target in corporate society, the boss. Full Review | Original Score: 3/5 | Mar 3, 2023. Rick Chatenever Santa Cruz Sentinel. Nine to ...
9 to 5
Summary In Nine to Five, three female employees of a sexist, egotistical, lying, hypocritical bigot find a way to turn the tables on him. Comedy. Directed By: Colin Higgins. Written By: Patricia Resnick, Colin Higgins.
9 to 5 (1980)
The director, Colin Higgins, is a young fossil who sets up flaccid, hand-me-down gags as if they were hilarious, and damned if the audience doesn't laugh. 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.
9 to 5 [Reviews]
In this witty, satirical farce, secretaries Dolly Parton, Jane Fonda and office manager Lily Tomlin live every female worker's dream after discovering they share the same resentment towards their ...
Forty Years Later, '9 to 5' Still Speaks the Truth
When the film 9 to 5 premiered on December 19, 1980, it captured the grievances of working life and emancipatory possibilities of class consciousness in what would become an unlikely classic in the historic labor film archive. In 9 to 5 Jane Fonda's character, Judy Bernly, arrives to work at an ominously tall office building. Judy is newly ...
'NINE TO FIVE,' OFFICE COMEDY
Miss Fonda plays Judy Bernly who, recently divorced from a husband who ran off with his secretary, is taking her first job. She's the office innocent. Miss Tomlin is Violet Newstead, the widowed ...
9 to 5 (1980) Review: Classics Revisited #11
Colin Higgins' 9 to 5 is a 1980 feminist hootenanny. It has something important to say about gender inequality in the workplace, and does so in a hilariously fun, clever way. The plot: Three mistreated female office workers fantasize about bumpin' off their "sexist, egotistical, lying, hypocritical bigot" male boss.
9 to 5 (1980) Movie Review
20th Century Fox released 9 to 5 on December 19, 1980. Colin Higgins directed the film starring Jane Fonda, Lily Tomlin, and Dolly Parton. '9 to 5' 30-Second Summary. Franklin Hart may be the most sexist, egotistical, piece of shit boss on the planet.
9 to 5 1980, directed by Colin Higgins
And the climax simply underlines the film's lack of courage in its convictions: the trio's tangle of problems are resolved (happily, of course) by a man. Complacent, and even worse, not very funny ...
9 to 5 (1980) Movie Summary and Film Synopsis
Film and Plot Synopsis. Franklin Hart may be the most sexist, egotistical, lying, hypocritically-bigoted boss on the planet. He constantly humiliates his female employees, downplays their input, and makes condescending remarks about them whenever possible. His top assistant, Violet, is long over his bullshit and she conspires with co-workers ...
9 to 5 (1980) Movie Review
The story of their blossoming friendship is done in such a spectacular and hilarious manner. This was a movie about female empowerment, taking down the man and beating down doors; but it isn't heavy. Instead, it's laughs from start-to-finish. One can only hope that the sequel brings back this magic.
Parent reviews for Nine to Five (9 to 5)
Nine to Five (9 to 5) Yes! All of this! A film that gets better with age and that earned Coleman the reputation of the ultimate jerk boss-man swindler. Tomlin, Fonda, and Parton are movie magic and highlighting the extreme patriarchy they suffer from only draws attention to how we have not moved far enough in the almost 40 years since the film ...
Yes, 9 to 5 really is a feminist movie
9 to 5 (1980) On 19 October, the Guardian ran an opinion piece that scoffed at the notion that 1980s classic 9 to 5 could be regarded as anything approaching a feminist comedy. Anyone who has seen it, asserts the feature's writer, Ryan Gilbey, "knows that the film bears the same relationship to feminism that Jurassic Park does to ...
'Still Working 9 to 5': Film Review
Still Working 9 to 5. The Bottom Line Pop culture meets political urgency in a lively oral history. Venue: SXSW Film Festival (Documentary Spotlight) Directors: Camille Hardman, Gary Lane. The ...
'9 to 5' Remake in the Works From Jennifer Aniston
The success of 1980's 9 to 5 resulted in the film spawning a short-lived television sitcom and an Emmy-nominated Broadway musical featuring new songs penned by Parton, who, of course, turned the ...
9 to 5: The Musical review
9 to 5: The Musical is a contradiction. Based on the beloved 1980 film which starred Dolly Parton, Lily Tomlin and Jane Fonda, the stage show - which premiered in 2008, and opened in Sydney on ...
Jennifer Aniston Set to Produce a Fresh Take on Classic '9 to 5' Movie
There's exciting news for fans of the iconic film 9 to 5 as a fresh project is underway. Announced on Wednesday (April 25), Variety has confirmed that actress and producer Jennifer Aniston along ...
Jennifer Aniston producing '9 to 5' remake with 'Juno' writer
Jennifer Aniston producing 9 to 5 remake with Oscar-winning Juno writer. Diablo Cody will write the script for Aniston's reimagining of the Jane Fonda, Dolly Parton, and Lily Tomlin classic.
Jennifer Aniston Producing '9 to 5' Reboot at 20th Century ...
Jennifer Aniston is looking to produce a reimagining of the glass-breaking, female driven 1980 comedy 9 to 5. Juno Oscar winner Diablo Cody is writing and Aniston will produce under her Echo Films ...
Jennifer Aniston to Produce the Remake of '9 to 5'
Preview: Jennifer Aniston will produce the remake of '9 to 5'. The original starred Jane Fonda, Lily Tomlin and Dolly Parton. Diablo Cody is writing the script for the new version.
Jennifer Aniston to Reimagine '9 to 5' for 20th Century Studios
The film is currently in development, with Diablo Cody ("Juno," "Lisa Frankenstein") working on the latest draft of the "9 to 5" reimagining. Plot details are being kept under wraps.
Infested Review: A Horror Movie About Spiders Made Me Feel Like It Was
Infested is more than just a creature feature - it's a character-driven ensemble piece about disaster and community.; The film explores pandemic-era themes like isolation and quarantine, along with police violence and racial discrimination. While the spiders in Infested are terrifying, the true source of tension comes from the well-developed characters and realistic horrors.

Movie Reviews

Roger Ebert

Now playing

Brian Tallerico

Blood for Dust

In the Land of Saints and Sinners

Simon Abrams

Asphalt City

We Grown Now

Nine to Five (1980)

Directed by

Photographed by

Screenplay by

Produced by

Latest blog posts

Speed Kills: On the 25th Anniversary of Go

Joanna Arnow Made Her BDSM Comedy for You

The Movies That Underwent Major Changes After Their Festival Premiere

Netflix's Dead Boy Detectives Is A Spinoff Stuck In Limbo

9 TO 5: Women Make Things Better

STRESS POSITIONS & Interview With Theda Hammel & John Early

ISA TOP 25 SCREENWRITERS TO WATCH Interview With Kathryn Orwig

AMAR SINGH CHAMKILA: A Spiced Venture Of The Formulaic Music Biopics

TRAP Trailer

ENTER FOR A CHANCE TO WIN THE DEPARTED DIGITAL MOVIE!

Interview With Dylan Baker for LAROY, TEXAS

ISA TOP 25 SCREENWRITERS TO WATCH Interview With Thuc Doan Nguyen

Interview With Screenwriter Alessandro Camon For THE LISTENER

NO WAY UP Represents The Democratization Of Bad Underwater Thrillers

MONSTER: The Truth About Youth

MoMI First Look 2024: A Wave of Films That Blend Imagery And Medium

THINGS WILL BE DIFFERENT Writer/Director & Cast Interview!

Superstar Trio

Joining Forces

Relevancy Today

9 To 5: Conclusion

Does content like this matter to you?

KUNG FU PANDA 4: Enough Wit For One More Kick

RIDDLE OF FIRE: Weston Razooli’s Excellent Adventure

CLUB ZERO: A Satisfying Serving Of Satire

Log in or sign up for Rotten Tomatoes

Email not verified

Sign up for the Rotten Tomatoes newsletter to get weekly updates on:

Movies / TV

9 to 5 Reviews

Metacritic reviews

More from this title

Recently viewed

Current Affairs

Forty Years Later, ‘9 to 5’ Still Speaks the Truth

More In: Entertainment

Announcing Our Newest Issue

The Latest From Current Affairs

'NINE TO FIVE,' OFFICE COMEDY

9 to 5 (1980) Review: Classics Revisited #11

20 Sad Anime Movies That’ll Make You Cry

21 Best Hindi Films On YouTube

22 Best Indian Thrillers On Amazon Prime (October 2023)

21 Bollywood Movies To Binge Watch On Amazon Prime (Jan 2024)

15 Horror Movies We’re Excited About In 2024, 2025

Dune: Part Two (2024) Explained

Decoding Poor Things (2023)

16 Screenwriting Contests Every Writer Should Know Of

Nope (2022) Explained: Plot, Themes And Ending

2024 Oscar Highlights: Oppenheimer Leads Hollywood’s Biggest Night

Dune Part One (2021) Explained: Plot, Themes, And Ending

Oscar Nominations 2024: Best Actress & Likely Winner

15 Great Movies Like Dune

Anurag Kashyap Movies Ranked From Worst To Best

3 Films That Are Film Schools In Themselves: Director Sudhish Kamath Writes

Discover more from Flickside

Time Out says

Release Details

Cast and crew

9 to 5 (1980) Movie Review

51 NEVADA: Amazon Prime Pick of the Week – Alien Fun – Breaking Movie News

You May Like

CROOKED HOUSE (2008) – Supernatural/Drama Horror MOVIE REVIEW

Late Phases (2014) – HORROR MOVIE REVIEW

Kingdom of the Vampire (1991) – Horror Movie Review