In Good Company, Paul's marvelous comedy tinged with substantial sadness around its edges, suggests what About a Boy might have been like had Grant's character acted his age and given something back to a world from which he only took and took. This movie is about a man -- men, actually. One of them, a sports-magazine ad salesman named Dan Foreman (Dennis Quaid), has everything the other, Carter Duryea (Topher Grace), desires but has no idea how to get. Carter, Dan's new boss and the younger of the two by some 25 years, believes he has it all -- a beautiful wife, a new Porsche, a bright future as a multinational conglomerate's rising star -- only to realize it's meaningless. In short order, Carter will lose his wife of seven months (Selma Blair), his car will be totaled before he's even out of the dealer's parking lot, and he will realize you can never be a boss when you work for lunatic billionaires who buy and sell companies for kicks. And yet the world believes men like Carter have it all.
And then there is old man Dan, with his beautiful wife, Ann (Marg Helgenberger), and their two daughters, college-age Alex (Scarlett Johansson) and high school student Jana (Zena Gray), and their lovely home in the suburbs. Dan wants only one thing now: to keep his job after media kingpin Teddy K. (Malcolm McDowell) buys the magazine and Dan is replaced by Carter, who once impressed the boss by selling cell phones to toddlers. The boss man has been demoted to "wingman," as Carter glibly puts it, just as Ann has dropped the baby bomb and Alex has decided to transfer to expensive New York University. Dan does what a man of responsibility must: He grins and bears it, for the sake of his family and at the expense of his ego.
In Good Company is about many things -- a love affair between Alex and Carter that occurs under Dan's nose, the burgeoning father-son relationship between Carter (whose junkie dad disappeared when he was a boy) and Dan, the fear of losing your job with a kid on the way, the desire to please a boss who doesn't even know your name. There's something old-fashioned about it -- a colleague shrugs that Dan reminds him of a character Jack Lemmon would have played decades ago -- and it espouses decency without proselytizing.
As Carter, Grace is jittery and anxious. He's "scared shitless" of a job he has no idea how to do, and there's nothing in it for him but a paycheck. Quaid, whose wicked grin now resembles a forced smile, is equally touching as a man struggling to hold on to his pride.
The man who made Boy has matured into a deft filmmaker with a gentle but confident touch. Weitz contrasts a shot of Carter using his MasterCard to pay for an expensive meal with Dan using his to pay for maternity clothes. While Dan signs his second mortgage, Carter signs his divorce papers. These are moments in the everyday lives of people who sit in the cubicle or office next to ours.