I can’t really think of any way to approach In the Loop except by way of the obvious comparison, so here it is: it’s The Office meets Dr. Strangelove. This film, a political farce filled with smart performances and rich profanity in service of both hilarity and despair, borrows its fly-on-the-wall schtick from The Office (either version, take your pick), but elevates the phony vérité strategy by transposing the action from the television show’s cubicles of inconsequence to the very halls of power. Taking place among mostly unsung functionaries in the governments of Great Britain and the United States in the lead-up to the invasion of an unnamed Middle Eastern country, it never attempts to scale the boldly satirical heights of Dr. Strangelove, or to emulate that film’s depictions of megalomania and insanity as catalysts for war. But it is unfailingly witty in its speculation that international aggression isn’t driven by mania as much as facilitated by banality — the case for war as the unwitting spawn of so much interpersonal dick-waving.