I have a deal with Michael Ellenberg, who brought Game of Thrones to HBO, and I’m doing my own TV series with him. Hopefully he keeps making movies, great at music and writing as well. Pretty decent interview with Boots Riley. to avoid full spoilers, I'll put it that way. WorryFree is a controversial company who promises lifelong security for workers who live and labor onsite under conditions of what many in the film’s world call modern-day slavery-in effect, WorryFree contracts out alternatives to free waged work, and they have a secret project that dives even deeper into those morally disreputable waters, and trying to find full replacement for human workers. Boots Riley says he based it off reality today.Ĭould 'Sorry To Bother You' Really Happen? We could all be working at WorryFree or something like it in the future if we aren't careful.

Imo it would have been a lot more interesting to see the MC struggle between the choice of deciding to sell out to the company or lose it all and do the right thing, but the horsepeople experiment made the company even more comically evil and now he doesn't even have to wrestle with the choice any more. If anything, I would say that the horsepeople thing gave the main character and the story an easy cop out. I guess I can add on to that by saying that I do not feel as if the horsepeople addition was necessary to the movie, as the movie has already shown how workers were being taken advantaged of and how the main character was already conflicted about his personal success in the company coming at the expense of his friends and family. Then for some reason the last 1/3 they decided to throw away any nuance it had (not that it was a movie with a lot of subtly or nuance, but you get what I'm saying) and started going over the top and slapping its audience with ridiculousness as if to say 'ARE YOU GETTING IT YET? THE MODIFIED HORSEPEOPLE IS WHAT CORPORATIONS WANT TO DO TO THE POOR WORKFORCE! DO YOU UNDERSTAND THE THEMES OF THIS MOVIE YET?' The first 2/3rds of the movie felt like it was 'exaggerated' enough to make a really interesting and compelling story that highlighted the issues it wanted to discuss. However, the more I’ve thought on it, the more those elements reveal just what a passion project Sorry to Bother You was, and those are the elements that wind up actually elevating it.īy comparison, BlackKklansman was a much more traditionally crafted movie, and while I liked it a lot, it will not, and can not stick with me the way Sorry to Bother You does.Ĭopying my reply from another comment, hoping you could offer some new insight that might change how I see the last 1/3 of the movie. In many cases (the vast majority of movies where that happens, I’d say) that’s very easy to take as a fault, so at first brush it felt that way here too. Those unpolished moments and extraneous bits definitely create a sense of narrative friction that pulls me out of it in the sense that I’m made very aware of the craft rather than the fiction. I use “was” in the past tense here deliberately, because while that was my initial impression, that’s not the feeling on it that stuck with me. For me, it was primarily a sense that it lacks polish, and at times felt like it needed an editor. Let me say first that my opinion of this movie isn’t really nailed down (which in itself I view as a good thing), but that my initial impression was much like the guy above-flawed but great. Not the guy you asked, but I’ll chime in here.

And I think you thought so too, which is why you called out Camus. I basically agree with you, I just think that calling it absurd in the context of the -ist isn't enough. They didn't put him on stage because of a random calculation, they did it because of race and their own view on class and purpose. People below are talking about the humor of the rap scene and that's about it. Nature seems to us like chaos, but the choices made in the film are made outside of the frame of doing it for the sake of doing it. It's true that the universe isn't ordered. Certainly there is a feeling of the inevitable that calls out to nihilism because at times the struggle involved can feel absurd and without any measure of purpose, but things have their place within a context outside of rolling dice and the simple cruelty of chance. Which was generally true of Camus as well. It all makes sense within the lens of class and race politics. The thing I like about the film is that none of the absurdity is non-sensical.

Movie sorry to bother you