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.

The beginning is very like 'The Wolf of Wall Street', this film is also all about capitalism and greed. Our hero, Cassius is struggling to make end meet, he applies to be a telemarketer and quickly promoted to a 'Power Caller'

He discovers that senior management are exploiting its employees to generate more profit (you'll see how towards the end). The humour at the beginning turns into dark social commentary with lots of symbolism.

I'm always apprehensive when a poster says 'the best film of the year by far' Well ... it's not the 'best', but very good and definitely different.

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.

I always try to base my judgement of a film, on how much it can bring forth my emotions. The more a film can invoke my feelings the; whether that be love, fear or joy. That is what makes a movie great. I have stuck to that rule my whole life, and whether I am feeling in awe at another Nolan epic, or pure bitter frustration at sharknado 13, I have never stumbled across a single film to which I can make an exception.

That was in fact until I embarked on the journey known as "sorry to bother you".

This film is strange. I mean, reallyyy strange. A dystopian reality is constructed, using cheerful and colourful, mise-en-scene, picture and sound; as a poorly crafted mask to cover the dark undertones which hide in plain sight. The acting? Seamless. The humour? Hilarious. The plot? A positive unorthodox. And yet what emotion of mine does this film invoke? Misery.

The alternative reality conjured is so surreal, yet so real. The psychopathic nature of every single aspect of this creation bears all too many similarities to the world we too live in. So hyperbolized, so ridiculous, but still so true. Immediately after whatching this film I had to call my best friend, just to hear a sane voice, as even the one in my own head was failing to provide me that comfort.

This film does exactly what it sets out to do, it does so in stupendous fashion. And yet, I hated it. I recommended that none of my friends watch it. Though smiling throughout, my overall emotion was of such discomfort, that I really did not want anybody to go through the same. This is the best worst film I have ever seen. My rating has fluctuated from 4-10 throughout the writing of this review. But here you have it. 7/10. My final answer, a mediocre score, for a far from mediocre film.

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.