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In an alternate version of Oakland, Cassius Green gets a telemarketing job and finds the commission paid job a dispiriting struggle as a black man selling to predominately white people over the phone. That changes when a veteran advises him to use his "white voice," and the attitude behind it to make himself more appealing to customers. With a bizarrely high-pitched accent, Cassius becomes a success even as his colleagues form a union to improve their miserable jobs. Regardless, Cassius finds himself promoted a "Power Caller" selling the most morally abhorrent but lucrative products and services as his connection to his girlfriend and colleagues fades away. However, Cassius' conscience arises anew as he finds himself in the midst of his boss' bizarre world of condescending bigoted decadence and his sinister plans to create the perfect subservient work force with Cassius' help.Written by
Kenneth Chisholm (email@example.com)
Boots Riley was the lead vocalist for the hip-hop group The Coup. He made the album "Sorry to Bother You" in 2012, which he then used in the movie, meaning he effectively made the soundtrack 7 years before the film. See more »
The workers aspire to become 'Power Callers' with all the attendant rewards. The path to this promotion is laid out clearly by the company and is open to all without discrimination (demonstrated by Cassius's success).
However, instead of attempting to better themselves by following this path, the workers go on strike to protest their low pay. Even worse, when one of their own is eventually promoted on merit they vehemently complain, in fact, verbally abuse Cassius on his way to work at his new job. See more »
So it says here that you were manager of the Rusty Scupper restaurant for five years. And then a bank teller at Bank of Oakland between 2014 to 2016. Oh, and you were employee of the month! What's that trophy in the bag there?
Oh, Oakland High moot court champion. I'm a salesman at heart.
*That* is intriguing. Mainly because I was the branch manager at the Bank of Oakland between 2014 and 2016, and you, Mr. Green, you never fucking worked there.
See more »
Sorry to Bother You is a strange, surreal, hilarious satire guided by the intentionally unsteady hand of rapper-activist turned debut director, Boots Riley.
It dabbles in commentary on media, society, race and working-class issues-so many poignant messages, some more successfully delivered than others. The fearless absurdism will likely distract some viewers from a couple of these messages, but I'm okay with that. I take this wonderful creation much more for its entertainment value than anything else.
The messages that do resonate should come through clearly. Riley's story doesn't shroud itself in murky metaphors. It tells us exactly how to interpret the bizarre world he has created.
Rising star LaKeith Stanfield plays Cassius 'Cash' Green, a deep-thinker who lives in his uncle's garage with his artistic girlfriend named Detroit (the invaluable Tessa Thompson). It comes as no surprise that a man who goes by Boots would opt to give his characters unusual names. These two are just the beginning.
To collect enough scratch to keep up with his rent and put gas in the rusty bucket he drives, he takes a job as a telemarketer. When a wise elder advises him to use "white voice" to improve his sales, Cash starts to rake in the green.
After he rises the ranks of the telemarketing world, ascending to the divine status of power caller, he attracts the attention of an eccentric, drug-fueled CEO, Steve Lift (Armie Hammer). His company, WorryFree (a place where employees feel anything but) hides a dark new idea. But when the secret leaks to the public, his stock unexpectedly skyrockets, and Lift is declared a pioneering genius.
The rational-minded public undoubtedly opposed Lift's plan, but big business carried on. As union organizer Squeeze (Steve Yuen) explains to Cassius, "if you show people a problem, but they don't know what to do about it, they just learn to get used to it."
If you think you have any of this plot figured out, think again. It makes a radical left turn in the third act that will tempt some viewers to jump ship. My advice: stay on board. Even if you don't want to totally buy in, just hang around to see where this new direction leads.
The film flies along with such easy energy early, then hits turbulence when trying to figure out how to end this thing. Riley introduces so much psychedelic madness that by the end it's nearly impossible to wrap up the story. But at some point, one must come down from every trip.
Even with as jarringly fantastical as it is, in many ways this movie also feels incredibly real. As Riley puts it, he strives to "break down reality to help us better understand it." Mission accomplished.
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