I honestly live for this kind of chaos. Being totally open to letting a film take you somewhere without trying to guess where it's going next is one of the most freeing experiences a person can have (if like me you have no desire in the world to do any adrenaline junkie free climbing up mountains shite anyway). And even if you don't like the juxtaposing sharp edits JUST WATCH IT FOR TESSA THOMPSON. Queen of our time.
What a treat to see contemporary Oakland captured on film, from the sleek buildings of downtown to the roar of the BART train passing overhead. As for the movie itself—I never felt like the characters were properly fleshed out, which left me at a remove from the story. But that "rap scene" at Armie Hammer's party is something few mainstream American films are these days: provocative, unsettling, and audacious.
I wonder if the boring and vapish first half was needed for the "horsing around" of the second half to hit fully. Despite the satirical flourishes, plot- and structurewise this is a pretty basic "alternative" story of going against the system and personal growth, already seen million times in comics, games, other movies... Everything after the horse cocks is bananas & works great and kind of salvages the whole thing.
this is really entertaining - the melancholic vibe goes along well with tepid distopias about class counciousness : : i can see why it appeared in a lot of "2018's best" - it's an unpretentious comedy that even when sticking to the romantic-comedy scheme tries to uplift the audience with a strike-for-dummies routine : : it's funny & it's also clever (although harmless)
For me, there wasn't much illuminating here, that I hadn't already given thought to. But it was still a fun, relevant and over-the-top satire, with great music by the writer/director Boots Riley. A particularly good quote by one of the characters about society's apathy towards big challenges: "If you get shown a problem, but have no idea how to control it, then you just decide to get used to the problem."
This social satire on big tech, race and the gig economy manages to remain fearlessly incentive and unpredictable right up to the final shot. It is very funny too, with several acerbic sequences which make this film destined for cult status amongst those who have seen it. The coolness of Lakeith Stanfield in the lead role only adds to its charms. Tessa Thompson continues her Hollywood ascent on her terms.