Sorry To Bother You (Sundance 2018)

11 Feb

After spending years in development hell, rapper-turned-director Boots Riley‘s dark satire Sorry To Bother You finally hit the big screen at this year’s Sundance Film Festival and quickly became one of the buzziest titles of the festival.

Set in a not-too-distant-future of Oakland, the film follows Cassius (Lakeith Stanfield) and his activist girlfriend Detroit (Tessa Thompson) as they try to save up cash with plans to finally move out of Cassius’ uncle’s garage. Cassius takes up a job as a telemarketer, where he struggles to make sales until he discovers the magic secret: putting on his “white voice” when talking with potential customers.  Cue the post-Obama racial satire as Cassius quickly climbs the ranks of telemarketing and begins to unravel a string of dark secrets brought on by corporate figurehead Mr. Lift (Armie Hammer).

Shot on a minimal budget and produced with the self-described “stone-soup” method (every new crew member brings something big to the table to collaborate on) Sorry To Bother You has a renegade punk vibe embedded within its DNA. Thompson and Stanfield both give incredibly bold performances and help the more outlandish lines of dialogue seem grounded within the film’s unique reality.  A supporting cast with Danny Glover, Terry Crews, Steven Yeun, and voicework by Patton Oswalt and David Cross help create the vividly colorful world the film lives in.

It becomes apparent during the first 15 minutes that writer/director Boots Riley has stacked his script full of details that lift the film above a cultural pedestal and into a world of its own. The story goes from being socially provocative to radically ambitious to levels of Charlie Kauffman-esc meta-satire referencing everything from social activist culture to gentrification to celebrity status in the digital age to the meme-ification of fake news to the ever-present display of corporate America. Seriously, there are more ideas floated around in the first act of Sorry To Bother You than you will find in the most viral of Ted Talks.  Not all of the cultural commentary sticks however, and some ideas feel senselessly shoehorned into the plot for little or no reason. Still, Riley clearly has a passion for his chaotic mess, and even in its most confusing or cartoonish moments Sorry To Bother You thrives off its ever-emanating creative energy and ambition. Coincidentally, this unique gem ends up being a lot of fun in the process.

Bottom Line: While Sorry To Bother You makes more sense as a haphazard cultural collage than a narrative film, the ideological soup the film creates is impressively ambitious and wildly entertaining. 

Rating: 8.2/10 

Film Recipe: Get Out + Being John Malkovich + Office Space + Dear White People

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