I like this film for its social commentary and highlighting in its own unique way the inequities of modern life, the games we need to play to get by and the principle defeating sacrifices people make to climb the pyramid of ever decreasing opportunity for financial gain.
Like nails on a chalkboard- on top of being a half baked and misguided excuse for social commentary and being a really unfunny comedy (I don't think I laughed once), it has the gall to evoke realistic footage from the Ferguson and Charlottesville protests in the midst of this otherwise lighthearted farce revealing the filmmakers to be tone deaf and insensitive!
Histoire originale, bien jouée, relativement bien dirigée et réalisée, exploitant sans subtilité la thématique du racisme, le point positif du film de Boots Riley est probablement son côté imprévisible. Un peu dans la veine d'Edgar Wright, on utilise l'aspect visuel à des fins humoristiques, intelligemment, mais quelques choix au montage et au scénario nous laisseront sur notre faim.
Visually reminds of Spike Jonze, very fun to look at. Music is fresh. Stanfield is excellent in the lead role, Hardwick is great supporting. The "friends" supporting roles fare less well, too expected, but maybe that lies on the script. Tessa Thompson char was annoying "woke" artist, not cool or lovable, kept hoping protag would realize. Lazy socialist ideas. Film falls apart in last 20mins; final twist is dumb. 3.75
Un debut de interés. Al primer conflicto me recuerda a "Blue collar" solo que aquí la sátira y la comedia son las pautas. Es un mundo en donde el esclavismo ha sido normalizado y el proletario ha decidido poner orden. Riley tiene ingenio para crear la burla y a su vez estimular la reflexión. Ahora, la burla no solo golpea contra lo antagónico, sino contra la cultura en general. Desde lo racial hasta las performances.
What starts out as Atlanta: The Movie eventually becomes something more horrific than Get Out. I'm not entirely sure that transition works exactly but it's hard to deny the film's strange, dreamy, nightmarish power. Stanfield is wonderful, Thompson is style goals and Yuen plays a slightly less psychotic version of his Burning character. At its best when it's a savage satire of white people (that rap scene!).
Boots Riley sure can conjure up some downright demented ways to expose his cynical views on the predatory society. But unfortunately, I found Sorry to Bother You to be a film that was more focused on providing the next piece on social commentary, than in fleshing out its characters in meaningful ways. I'm still giving it a positive review because its very accomplished technically though, along with some great satire.
A witty, scathing, anti-establishment manifesto with a quirky, unique visual style. Unfortunately for much of the run time the rage that director Boots Riley spits on corporate america comes off as unfocused or oversimplified. The aforementioned visual form does not strongly connect to the function of the story, and the twist near the end down right demolishes anything interesting that has been said politically.