There is something truly unique about a true auteur that is striking. It is the rare breed who can successfully pull it off, including Quentin Tarantino, Cameron Crowe and Spike Lee (such as his latest, BlackkKlansman). With his feature-length debut with Sorry to Bother You, that now can be said for Boots Riley.
When history looks back at the career-long artistry of Riley, the one that started it all will be seen as the blueprint for what to expect from all that is required of an auteur—from the opening shot to its coda. One firmly knows that the cinematic wizard behind the narrative, visuals and tone of the picture is Riley and I cannot wait to witness whatever he does next.
Sorry to Bother You is a stinging and deliciously strange look at America 2018, from the price of pure capitalism to the complicated web of office undercurrents and yes, race relations. It follows Cassius Green (Lakeith Stanfield of Get Out fame). He’s an Oakland, California native who finally scores a job that can hopefully get him out of the stagnant life he’s forged for himself. He becomes a telemarketer and through the help of his desk neighbor Langston (Danny Glover, always awesome), he learns the key to success—using his “white” voice.
Before long, he is shooting to the top. All the while, Green is not quite sure what it is he is selling. As he peels away the layers of this storytelling onion, he gets closer to the heart of what exactly it is that his company does. It is a macabre discovery to say the least.
What is so fascinating about Sorry to Bother You is it is not the film one would expect it to be. That is rare these days. Most movies are exactly what you expect. Whether it is the fault of trailers that tell the whole story or filmmakers, who are so predictable in their storytelling that audiences keenly know where the narrative is headed due to it being advertised from miles away. All that credit, clearly, for that in this new to home video instant classic, is firmly on the shoulders of Riley.
You might be surprised by our lack of description about the story itself. It best that the viewers know as little as possible to enjoy the full effect of Riley’s fascinating tale. What we will discuss is the brilliance of all involved.
Lead actor Stanfield carries the film and shows that what was teased in Get Out, Selma and Short Term 12 is merely scratching the surface of what this actor can achieve with his titanic talent. He is our eyes and ears to this world that Riley has created. As things get weirder, more dramatic and yes, more comedic, he is our host and tour guide as we dive headlong into this riveting rabbit hole. It is a stunning journey and an utter joy to behold on so many levels.
Continuing her blazing streak of stellar performances in stellar films is Tessa Thompson (Creed, Thor: Ragnarok, Annihilation). Her character, Detroit, is Green’s better half. Through her killer performance, the audience gets what amounts to a peripheral view of all the goings-on in Sorry to Bother You. As such, it elevates our emotive responses and adds countless layers to the richness of Riley’s world.
Riley is being lauded as a one-of-a-kind hip hop filmmaker. At the end of the day, I feel as if this is simply a visual storyteller who is pushing the boundaries of what a film narrative can do and how it achieves that. He painstakingly has crafted a world in Sorry to Bother You that is unique in every sense of the world. Even better, it is an experience that will have the viewer thinking about this world and its parallels to our world, long after the experiencing of witnessing his creation has concluded.
When it comes to bonus features, I must commence with Beautiful Clutter with Director Boots Riley. The almost-twelve-minute featurette has the most enthralling of interviews with Riley as he explores his filmmaking style, the topics that permeate throughout his film and provides amazing insight into the making of an instant classic.
Don’t miss The Art of the White Voice! This featurette is exactly what one would think it is from the moniker. The scene where Glover is teaching Stanfield about using his “white” voice recalls many a filmmaking mentor moment, but with the most pointed of means. This is a great look at the making and the importance of that scene to the expansive dramatic arc and its roots in reality.
The Cast of Sorry to Bother You is a too-short look at the two leads, as well as the entire ensemble that illustrates these movie magicians casting their cinematic spell.
Lastly, given that this film is a moment of pure auteur awesomeness, for your second viewing of the film, turn on that commentary track with Riley and it will exponentially expand his movie landscape in ways that will only enhance your adoration of his auteur’s debut.
Film grade: A
Bonus features: B