Sorry to Bother You Youtube Funny Scene
'Sorry to Bother You' is absurd and bizarre, but it's worthy of acclaim
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No doubt there will be many people drawing parallels between "Get Out," last year's surprise hit that juggled hot-button issues of race and young black manhood within a tongue-in-cheek horror context, and "Sorry to Bother You," in which another young black man finds himself trapped in a nightmare from which he can't wake.
Both feature laconic Lakeith Stanfield from the TV series "Atlanta," who always seems one toke away from being as baked as a Thanksgiving turkey. And both films are debut features from their respective neophyte directors — comedian Jordan Peele for "Get Out" and musician Boots Riley for "Sorry to Bother You."
But if "Get Out" worked smartly within genre expectations, the low-budget/high-payoff "Sorry" is a far more surreal and twisted experience, a politically charged, love-it-or-hate-it, speculative-fiction fantasy that ruthlessly skewers and satirizes the modern age while also being darkly absurdist and brutally funny.
Stanfield is Cassius Green, "Cash" for short, a guy struggling to make ends meet in an alt-universe Oakland, one where slavery of all races has been rebooted for the 21st century as Worry Free Living, a concept promoted by the Steve Jobs of indentured servitude, Steve Lift (a bonkers and against-type Armie Hammer).
Exchanging free labor for food, security and health care is something that definitely appeals to Cash's financially squeezed uncle and landlord (Terry Crews) and might attract Cash, too, except his activist/artist girlfriend, Detroit (Tessa Thompson), wouldn't be on board. Instead, he manages to land a job as a telemarketer for the blandly named RegalView, a company that sells things nobody wants to people who don't need them.
But, after being coached by a co-worker (Danny Glover) on how to use his "white voice" — actually the voice of comedian David Cross — to move the merchandise, Cash finds himself named a "power caller" and propelled up the corporate ladder where, ultimately, he has to make the decision between money, morality, oh, and horse-human hybrids.
Considering that director Riley is part of a hip-hop group, The Coup, that marches down the no-nonsense political path blazed by the likes of Public Enemy and Rage Against the Machine, it's a surprise that, as a filmmaker, he gets his ideas across with such a hefty dose of both visual wit and sardonic humor. His ambition is what you might get if you crossed Peele with "Atlanta" creator Donald Glover and added a whisper of Spike Jonze ("Her") and Michel Gondry ("Eternal Sunshine of the Spotless Mind"). Perhaps it's no coincidence that they all got their start in music or music videos before branching out as visual storytellers.
Stanfield, the lanky essence of stoned cool, brings a laid-back brilliance to his portrayal of Cash, a man who's just trying to make it to payday. Thompson — who has been turning heads for a few years now with her turns in "Dear White People," "Creed" and "Annihilation" — is equally strong as the girlfriend who talks a righteous game but isn't above sharing in Cash's good career fortune.
It's great to see Steve Yeun, still best known from his turn as Glenn on "The Walking Dead," in a world free of zombies, playing a RegalView labor organizer who catches feelings for Detroit. But it's strait-laced Hammer, who seems like he's having a blast, who may be the biggest revelation among the cast.
"Sorry to Bother You"
Rated R: for pervasive strong language, some strong sexual content, graphic nudity, and drug use
Running time: 105 minutes
4.5 out of 5 stars
"Sorry to Bother You" may not enjoy the major crossover success and awards recognition that "Get Out" achieved — it may simply be too odd for mass multiplex consumption — but it certainly deserves them.
cary.darling@chron.com
wallacehoatherand.blogspot.com
Source: https://www.chron.com/entertainment/movies_tv/article/Sorry-to-Bother-You-is-absurd-and-bizarre-13064366.php
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