Sorry To Bother You (2018)

In an alternate present-day version of Oakland, telemarketer Cassius Green discovers a magical key to professional success, propelling him into a universe of greed.

Jess’ Review

Sorry To Bother You. Where the hell do I even begin? This film was a slow descent into madness. It was magnificent. If I’d had one recurring qualm with our film choices here, it would be predictability. The Hollywood cliche complete with a happy ending tied up in a bow. However, Sorry To Bother You took turn after turn after turn; obliterating any plot expectations I had to send us on one hell of a journey through political allegory and biting satire. Surreal at times and always fast-moving, director Boots Riley is ballsy, hard-hitting and relentless in his critique of racism, consumerist America and social hierarchy. At its core, Sorry To Bother You is about telemarketer, Cassius Green (Lakeith Stanfield) and his ascent into a ‘power caller’ role after discovering his ‘white voice’. There’s a strong supporting cast including Steven Yeun and Tessa Thompson, who is especially vibrant as Cassius’ gutsy girlfriend. But no matter how strong the performances are, it is Riley’s subtext and ever-undulating plot-line that defines the film. The film progresses into territories that are sometimes uncomfortable to watch, quite brutal in its criticism of modern society. Ranging from exploitative television shows to the corruption of cooperate industry, it is overflowing with political commentary. It’s satire at its best. Humorous at times, though always thought-provoking and reflective. It’s often an ugly reflection and something I found at times a little overwhelming. Riley plays with so many themes that I often felt bombarded. I was only just beginning to process one statement on modern slavery that I was unprepared for the ensuing message of capitalist greed. It‘s heavy and relentless. Yet fed to us in such a whimsical tone that perhaps it lessened the intensity of the assault. Visually, the film looks great. It’s vibrant and shot-well. There is an astounding attention to detail, in which each scene and all its props seems so carefully crafted. Everything is deliberate. The symbolism is insurmountable and the depth to this universe impressive, despite the films break-neck pace. The transitions from each scene are swift and whilst my attention is never faltering, I do feel there was almost too-much to fit in. Time to digest wouldn’t have gone amiss, though perhaps at the sacrifice of some of the heady thrill of the journey. Sorry To Bother You wasn’t the edgy comedy I’d expected, it was so much more. It was a fantastical, intense journey of political and societal metaphor. Potent and powerful in its delivery, unflinching, and bolstered by a wonderful cast. This film enthralled and excited me, demanding more than a simple 450-word review. Like the film itself, I have too much to say.

8.5/10

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Sam’s Review

Unique is the word of the day. This film is insanely, insanely, unique. Thinking this to be an erratic comedy, I wasn’t sure what to expect, and still I found myself surprised. It wasn’t a comedy, more a savage parody than turned into surreal symbolism.

Symbolism is embedded in this visually vibrant film, and I have no doubt that I missed most of it. The attention to detail that has gone into this project is impressive. Something as simple as the character’s names deserve delving into, for there is such a rich depth to the thought behind them. This is a film that could be watched twice, easily, simply to analyse the mise-en-scène.

Themes of capitalism and race are clear throughout the film, though again, similar to the symbolism, I am sure that I missed a lot of it. While capitalism is entwined with the plot, the theme of race is more subtle. It’s not a PSA, it’s, regrettably, a theme simply because Cash, played by Lakeith Stanfield, is African American, and so his life contains certain hurdles.

The film begins with Cash gaining employment as a telemarketer, and he is met with nothing but dial tones. A co-worker, played by Danny Glover, notices, and instructs him to use his ‘white’ voice. The discussion on ‘white’ voice is intriguing, showing an insight into how white people are perhaps viewed by minorities. Acting ‘white’ has been an insult thrown at minorities before, and even President Obama has been criticised for it in the past. Just this basic conversation has far too much depth for me to discuss in the limitations of this review. There are layers. Is he selling out? Is there any such thing as acting ‘white’?

I have criticisms. But, they’re minute. Certain pieces of dialogue felt contrived, feeling as if it’s trying too hard to be woke. But then, that could be the deliverance of the lines, and not the lines themselves. And these instances were few and far between. My biggest problem was the story, though told brilliantly, it felt lacking. It led to Jess and I debating what film is. As I feel that film should have a story and the symbolism, themes and messaging, while important, should fit into the story. Whereas this felt like the story was only there to make a point. However, even that wasn’t a blaring issue, as it’s told in such an invigorating way. It moves quickly, and keeps you wondering where it’ll end up.

I simply do not have enough words to do this film justice. To call it thought-provoking seems an understatement.

7.5/10