Reviews Sorry to Bother You 2018 I would definitely classify this movie as artsy. By that I mean that the writer tried to convey a message in an indirect and flamboyant manner.
The appropriately named Cassius Green (Lakeith Stanfield) is a struggling, unemployed young man who wants to do something big with his life. He gets the opportunity when he’s hired on at a telemarketing company. As he makes one sale after another he is offered the dream gig of being a PC (power caller). As a power caller he can change his life for the better but at what moral cost?
The first half of the movie was really good. It had a good flow to it, the humor was funny, and the plot was clear. The last half of the movie was different, almost like two different people wrote and directed the first and second half. The flow of it seemed to taper off, the humor waned, and the message became almost abstract. As it was I was trying to fully understand all of the visual and verbal non sequiturs but then I became a bit bewildered with the direction the film went. It sort of devolved into something crude and crass. I’m sure there was a point in that but I didn’t see a need.
This was Boots Riley’s writing and directorial debut. There was some promise here but I think it missed the mark. I hope he gets another shot to do another project and–whereas I don’t want him to dumb it down or make it commercial–I’d like to see a more palatable movie.
Erik Q commented
Have you ever driven a crappy car, lived in a crappy apartment or worked a job you hated day after day? This is the reality for many Americans, and the film Sorry to Bother You a directorial debut by Boots Riley elegantly reflects this reality of so many Americans. The film does not fit within the demographic of most movie reviewers, however, this picture paints a vivid portrait of what could be possible in a not so distant future. This may be hard to digest for some moviegoers, but if one goes in with the perspective of what can and what does happen on a daily basis for many living in the United States, the film is not as far-fetched as it can appear. There are elements of cinematic brilliance in scenes of transformation as the character Cassius Green as he progresses through the movie. The sheer normalcy of poverty is exhibited with brilliance, the essences of beauty are brought from Oakland and projected on to the film expertly. The comedic elements are delivered with skill and are abundant. This comedy melds elements from films such as Idiocrasy, They Live, and the Office. Yet adds a sense of genuine artistic elements that is otherwise lacking from the aforementioned films. There is a raw nature to Boot’s film which can be attributed to lack of experience, but as a whole, the film and its cast delivered a performance that was on par with the cult classics named above. All in all, Sorry to Bother You is a cult classic in the making and yet is not a film designed nor intended for all viewers.