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Sorry to bother you free#
(The analogy to slavery is underlined by television ads that show the workers sleeping in stacked bunks.) It turns out Worry Free is one of the telemarketing firm’s clients, and perhaps not even the most nefarious. His race at first doesn’t seem to be an issue, but a veteran in the next cubicle (Danny Glover, sly as ever) gives him some advice: “Use your white voice.” He goes on to describe it as “sounding like you don’t have a care … put some breath in there … you’ve never been fired, only laid off.” Cassius does as he’s told (David Cross provides the prim, nasal whine) and he’s suddenly a success, propelling himself and his girlfriend Detroit (Tessa Thompson) out of their garage apartment and into a stark-white triangle loft with views on all three sides.īut what is Cassius selling? Earlier in the film, we’ve seen billboards advertising Worry Free, a company that hires workers for life, then houses and feeds them so that they never have to concern themselves with such complicated choices. Set in a version of Oakland, Calif., that’s vaguely off (it could be the near future or it could be an alternate dystopia), Sorry to Bother You centers on Cassius Green (Lakeith Stanfield), an existentially agitated African-American who has just landed a job as a caller for a telemarketing company.
Sorry to bother you how to#
Call it How to Succeed in White America Without Really Dying.
Sorry to bother you series#
Instead, it plays like a series of loosely connected skits riffing on the impossibility of black identity in a United States that’s hurtling toward classist, capitalistic implosion.
Sorry to bother you movie#
This is an angry, explicitly funny movie that refuses to conform to a three-act structure. Sorry to bother you, but Boots Riley just shook up Hollywood.Sorry to Bother You feigns politeness in its title, but in actuality the film is all intrusion. However, one new star still shines brightest. His performance as Cassius helps tie the narrative together and is as nuanced as it is effortless. If Riley provides the meat and bones of this prize turkey, Lakeith Stanfield is the sweet stuffing inside. The film becomes less of an ensemble piece and more of one-man show, increasingly constricted around its lead actor’s confused face. Later, the political message fades into the background as surreal hi-jinks take over. This isn’t a new idea, but in a world where the literal President refers to African Americans as “the blacks”, it feels even more crucial to call out racism on-screen. But as soon as he adopts a “white voice”, his fortunes begin to improve. In his first days on the job, Cassius struggles at the call centre.
This is truly remarkable storytelling, though not all light-hearted fun.Īt its core, Sorry To Bother You acts as a deafening wake-up call to white privilege.
Sorry to bother you zip#
Zinger after zinger unload themselves on the audience, while pacey dialogue helps zip the bonkers plot from A to B. Both put in stellar turns, but it’s Riley’s script that really sizzles. Joining Stanfield in this phantasmagoric playground are Tessa Thompson, who plays Cassius’s anti-capitalist girlfriend Detroit, and Armie Hammer, excellent as a coked-up tycoon in the vein of Patrick Bateman. Didn’t know who was dead and who was alive.” It’s like Spike Lee’s Do The Right Thing crossed with Bojack Horseman - all filmed through the lens of a Salvador Dali triptych. In the words of the immortal Super Hans: “It was fucking mental. After a slightly wacky opening, Sorry To Bother You slips down a psychedelic wormhole and into a drug-addled wonderland populated by violent radical artists, David Cross-dubbed super-executives and angry, naked horsepeople. Now, hold your horses, because this is where the normal ends and everything goes a bit Weird Al Yankovic. Eventually, he snags a job in telemarketing and for the first time in his life, he’s actually good at something. Set in Oakland, California, the story follows Cassius Green (Lakeith Stanfield) - a 20-something hipster living in his uncle’s garage. But he hasn’t let a lack of experience get in his way and Sorry To Bother You, his debut feature, is one of the funniest films of 2018. Not much to get excited about - or even watch, to be honest. Until this week, Boots Riley’s cinematic career comprised several student shorts and a co-director credit on a music video (The Coup’s ‘Me and Jesus the Pimp in a ’79 Granada Last Night’).
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