In an Alternate Reality, a Telemarketer Finds His Calling

Tessa Thompson and Lakeith Stanfield in "Sorry to Bother You"
Photo Credit: Imdb.com

One of the most thrilling aspects of watching a movie is seeing an idea unfold that has you wonder how such a narrative was ever conceived.  You’re caught by surprise from scene to scene as your expectations continue to be subverted, and you’re left transfixed and excited as you think about what kind of bonkers ending that the film has waiting in the wings.

Rapper Boots Riley accomplishes this in a stunning directorial debut with his comedy, “Sorry to Bother You,” in which he provides a surreal, unpredictable, inventive, lay-it-all-out-there film that defies categorization.

Cassius "Cash" Green (Lakeith Stanfield) is a down-on-his-luck young man who lives in Oakland, California, with his girlfriend, Detroit (Tessa Thompson), in his uncle’s (Terry Crew) garage.  When Cassius receives a job as a telemarketer, it doesn’t seem to work out in the beginning.  However, he soon achieves unexpected success, which leads him to the front ranks of his company as a “power caller.”  Although he enjoys it at first, Cassius soon has to decide for what he cares about more: his ideals, or his wealth.

Stanfield, who showed hints of talent in just a few minutes of screen time in last year’s horror smash, “Get Out,” wows you with his portrayal of a morally conflicted individual who’s placed in a job that goes from dead-end to endless riches.  In the arc through which his character travels, Stanfield shows the ethical problem that’s occurring in Cassius' mind during the film, and his ability to display this internal struggle keeps us immersed in Cassius' journey as he must choose to whom he will express his loyalty.  All of this helps Stanfield excel in his star-making performance.

Populating this world-turned-upside-down version of Oakland is a fair share of memorable supporting characters.  Besides Thompson as Cassius’ artistic girlfriend, there’s Danny Glover and Steven Yeun as Cassius' helpful coworkers; Michael X. Sommers as Cassius’ supervisor; Kate Berlant as a higher-up who brings Cassius through the gateway of power calling; Jermaine Fowler as Cassius’ best friend; and Omari Hardwick, who plays a mysterious man who shows Cassius the irresistible pull of being a power caller.

However, the best supporting performance comes from Armie Hammer, who plays a hard-partying, coked-up CEO.  It’s a role where you can feel the energy emanating from Hammer as his character revels in the debauchery that his luxurious lifestyle can offer him, and it’s a fun performance that adds an extra jolt to a film that’s already brimming with vigor.

A commendable aspect of Riley's screenplay is how he approaches the craziness of the world that he constructs.  The film’s rather soft in its unconventionality as it opens, and although you can tell from the start that the story's going to be out-there, it doesn’t reach high levels of absurdity right at the beginning.  Instead, it’s careful in establishing this tone, so as that craziness mounts, you’re able to accept it because you’re now familiar with the unexpectedness of the story.  It accomplishes this to the point where, once there's an occurrence that blindsides you and kicks off the film's third act, it's easy to accept these events that are happening because the film has been preparing you for it with all of the madness that has come before.

In the middle of all of the film's events, Riley’s narrative tackles many relevant topics, such as workers’ rights, corrupt governments, and media in society.  Given the film’s creative portrayal of the world, you can see these themes explored through a fresh lens that helps to invigorate the story and spur some excellent discussions afterwards.

In a year that has seen a few noteworthy filmmaking debuts, Riley's entrance onto the scene stands out, and you can't help but contemplate from where this imaginative force has come.  When you experience this movie, it's clear that Riley has many things on his mind, and he's able to blend all of his ideas to show us a world that's unsettling in how close it is to our own.  Although the movie flies by, you still feel as though Riley spends enough time on these topics in order to say what he needs to say.  And, as soon as the end credits begin to roll, you're astonished in the best way possible because of the wild ride of a film to which Riley just treated you.

"Sorry to Bother You" is one of the most original and daring films that you'll see this year, and you can't let it get away from you.  A new filmmaking talent is calling, and you need to answer him.

Final grade: A