Sorry to Bother You

Blend together the surreal absurdity of a Charlie Kaufman script with the broad satire of Robocop and you end up with Sorry to Bother You, a film about the dehumanizing exploitation of workers in corporate America. This is a delightfully bizarre first feature from writer/director Boots Riley, who highlights the problems with "stick(ing) to the script" at the workplace and accepting mindlessly violent entertainment from television and art. Some of the strange imagery and ideas in the film may turn away certain viewers, but this is one of the most unique viewing experiences at the theater this year and should not be missed by fans of weird satire.

Wow, there are a lot of people who don't like this movie, and moreover, seem to mad that others like it. Some samples:

"I think people who are giving it high praise believe that's just what their supposed to do but the fact is it's just a dumpster fire of a movie."

" I RARELY write movie reviews but had to inform people of the facts on this one."

"The positive reviews are from movie snobs who think they are smarter than everyone else and recognize brilliance in pure garbage."

You get the point. It's almost like we're all supposed to like all the same things now. (In fairness, there were plenty of other reviewers who didn't like it, but said they're glad others enjoyed it.

I'm not a movie snob. I'm not a film executive and I have nothing to do with the film except I paid 6 bucks to see it last Tuesday. This is a very surreal satire. It won't be to everyone's liking, but it seems to me that we are getting more and more confused about the difference between fact and opinion. It's not a fact that this movie sucks, any more than it's a fact that this movie is great. These are classically opinions.

Me, I like movies that start sort of pseudo-normal and go into bizarre. This is right up my alley. It's a Repo Man for our generation. Genetic engineering, dead end call center jobs, megalomaniacal Bay Area billionaires trying to save the world, race relations and post-postmodern art commentary. It's all painted in a crazy, bigger-than-life science fiction brush. Yeah, it's weird as hell, and maybe ends a little weakly (Monty Python and the Holy Grail, anyone?) but has a method in its madness.

If you don't like absurdist humor, or if you don't like movies that are at least semi-overt political statements (especially if the political statement is opposed to yours. Anti-union, pro-business capitalists with short fuses be warned! You should give it a miss and just read the National Review's Ross Douthat's review. He saved you a lot of time worrying your beautiful mind about it.), and if you don't like a dollop of science fiction every now and then, yeah, you're going to probably hate it.

But your opinion is still not fact. I liked it. That's my OPINION. Get over it.

Awesome satire movie, some moments i feel i was watching a Atlanta episode, others black mirror and ended up being a twilight zone episode! there is a lot of dark humor over here, is a thinking pay attention movie to catch a lot of the jokes.

if you like weird movies you should watch this one for sure!

Sorry To Bother You is a weird film. Not that that's a bad thing. It takes strange twists and turns, all while saying interesting things and presenting something thought provoking.

STBY is about Cassius "Cash" Green, a man who just needs to make a buck at his horrible telemarketer job and just get by. After finding he has a talent for sales while using his "white voice", he's propelled to the upper echelon of elite salespeople at the company. But that's just the first act. Any more and I'll spoil what this film has in store for you. The pace of it all is very quick and kept me wondering what could happen next. Every time I thought I knew where it was going, it jerked me into another dimension. The only gripe I had with the story is that the side plot of the friend who is trying to get with his girlfriend seems totally unnecessary. It could be taken out of the movie completely and nothing would be different.

The acting is great, with all the actors either embracing the insanity or not knowing what exactly to do with it. Everyone is fun to watch and see how they would react to their new situations.

The cinematography was excellent. From the first act and how dull and drab and out of focus everything is due to our main character's disinterest in his life and job, to the second act's sharp clarity where he is focused on doing the best he can at his job. The third act feels like a dream where everything is bright but hazy. There's a lot of great subtle visual metaphors throughout that make it fun to analyze as well. I would love to watch this again and see what I missed.

The soundtrack for this is just as trippy and weird. Lots of loops and weird instrumentation can be heard. Some members of the band Tune-Yards do the composition and it really does show. It keeps the kooky and psychedelic atmosphere alive.

Aside from some wonky "white voice" lip sync and the one story gripe, this is an awesome movie. Don't expect to laugh as much, but definitely expect to say "WTF???!!???" a whole lot.

Sorry to Bother You is a strange, surreal, hilarious satire guided by the intentionally unsteady hand of rapper-activist turned debut director, Boots Riley.

It dabbles in commentary on media, society, race and working-class issues-so many poignant messages, some more successfully delivered than others. The fearless absurdism will likely distract some viewers from a couple of these messages, but I'm okay with that. I take this wonderful creation much more for its entertainment value than anything else.

The messages that do resonate should come through clearly. Riley's story doesn't shroud itself in murky metaphors. It tells us exactly how to interpret the bizarre world he has created.

Rising star LaKeith Stanfield plays Cassius 'Cash' Green, a deep-thinker who lives in his uncle's garage with his artistic girlfriend named Detroit (the invaluable Tessa Thompson). It comes as no surprise that a man who goes by Boots would opt to give his characters unusual names. These two are just the beginning.

To collect enough scratch to keep up with his rent and put gas in the rusty bucket he drives, he takes a job as a telemarketer. When a wise elder advises him to use "white voice" to improve his sales, Cash starts to rake in the green.

After he rises the ranks of the telemarketing world, ascending to the divine status of power caller, he attracts the attention of an eccentric, drug-fueled CEO, Steve Lift (Armie Hammer). His company, WorryFree (a place where employees feel anything but) hides a dark new idea. But when the secret leaks to the public, his stock unexpectedly skyrockets, and Lift is declared a pioneering genius.

The rational-minded public undoubtedly opposed Lift's plan, but big business carried on. As union organizer Squeeze (Steve Yuen) explains to Cassius, "if you show people a problem, but they don't know what to do about it, they just learn to get used to it."

If you think you have any of this plot figured out, think again. It makes a radical left turn in the third act that will tempt some viewers to jump ship. My advice: stay on board. Even if you don't want to totally buy in, just hang around to see where this new direction leads.

The film flies along with such easy energy early, then hits turbulence when trying to figure out how to end this thing. Riley introduces so much psychedelic madness that by the end it's nearly impossible to wrap up the story. But at some point, one must come down from every trip.

Even with as jarringly fantastical as it is, in many ways this movie also feels incredibly real. As Riley puts it, he strives to "break down reality to help us better understand it." Mission accomplished.