The editing in Sorry to Bother You is singularly deafening as well. For better or worse, the burdensome fingerprints of the blockbuster machine are nowhere to be found on Sorry t o Bother You, allowing for Riley and cinematographer Doug Emmet to venture into worlds of claymation, daytime television, commercial shlock, art installations, and performance art, all amidst a visual world that is as richly colored and detailed as it is messy and insane. Like the brilliant cacophony of puppets and prosthetics offered in Spike Jonze’s Being John Malkovich, Sorry t o Bother You uses an array of mixed media to convey a world that is indomitably strange, yet all-too-familiar.
It's not just a jarring departure from the workplace Cash inhabits it's also a sly worldbuilding technique that gives the audience brief glances into the familiar-yet still unsettling foreign-time and place in which the events of this film exists. Boots Riley has Cash's desk quite literally bursting through the floors, crashing into the homes of the uninitiated folks to whom he is desperately trying to sell products they don't need to buy. Office Space, another classic comedy that lacks the sort of cinematic complexity of this film, used tired, static imagery to relate a tired, static lifestyle. While some directors, especially in comedy, may depict a boring corporate setting like the telemarketing office from Sorry to Bother You as a bland, purgatorial void, Riley construes the whole thing like a pile of cubicles sitting on a goddamned earthquake.
#SORRY TO BOTHER YOU FILM MOVIE#
A film like Sorry to Bother You may be light-years ahead in its progressive voice and narrative tone, but first-time director Boots Riley’s effort to create a distinctive visual style in a comedy movie is about as old fashioned-and healthy for the medium-as it gets. But his life quickly improves when he gets a foot hold in his job by employing his "white voice," which serves as a magical tool that allows him to sell anything to anyone-much to the displeasure of his girlfriend, Detroit (Tessa Thompson), and coworkers Salvador and Squeeze (Jermaine Fowler and Steven Yeun, respectively).īut far more than a comedy that attempts to skewer the absurdities of contemporary corporate America, Sorry to Bother You devolves into a bizarre sci-fi/fantasy hybrid, the messiness of which only elevates its artistic achievement. Lakeith Stanfield stars as Cassius "Cash" Green, a struggling Oakland native who finds uninspiring work at a dismal telemarketing firm. With his incendiary debut Sorry to Bother You, rapper-turned-director Boots Riley brings an incredible and idiosyncratic vision to the screen with a genre-bending satire that chips away at our current moment in time.
0 kommentar(er)
