Sorry to Bother You is striking, vibrant and vital. And essential.
Boots Riley’s directorial debut is a work of striking confidence, one that emerges almost perfectly formed with the skill and craft of a director much more experienced. Sorry to Bother You knows exactly what it is doing from one moment to the next, without any sense of hesitation of self-doubt. Sorry to Bother You is strikingly self-assured, maintaining an incredible level of high-energy across its runtime. This sustained propulsive dynamism in infectious, as the movie bounces from one big idea to the next.
The most obvious antecedents of Sorry to Bother You are the vibrant science-fiction social satires of the eighties, most notably the work of Paul Verhoeven that used a hyper-stylised aesthetic to depict the grosteque excesses of capitalism. Of course, the true horror of Sorry to Bother You lies in the sense of how the world itself has moved to close the gap over the past three decades. Although Sorry to Bother You unfolds primarily in a lightly fictionalised Oakland, the most unsettling aspect of the film is how close it feels to the modern status quo.
Sorry to Bother You is a work of bold vision.
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