Respond to these rapid questions in our Sorry To Bother You quiz and we will tell you which Sorry To Bother You character you are. Play it now.
Boots When confronted with horror, Riley’s “Sorry to Bother You” is an adrenaline-pumping comedy as well as a fearless dissection of identity politics, corporate malfeasance, and the American tendency to look the other way when confronted with horror. A new lifestyle called WorryFree is introduced in this brilliant satire, in which people gather around their televisions every night to watch a show called “I Got the Sh*t Kicked Out of Me” and embrace a new way of life called WorryFree, which is clearly corporate slavery masquerading as something good for you. There is a lot to unpack in this film, which has echoes of Terry Gilliam, Michel Gondry, and Jonathan Swift, but it is essentially the story of a man who is forced to confront the injustice he has been subjected to throughout his life. Riley’s film is intended to have the same effect on you as well. Take note of what I’m saying.
Don’t be concerned. There is no heavy-handed message in this film, nor is it a standard social commentary piece. One of the funniest movies of the year is this hysterical comedy from director Todd Haynes. The message never gets in the way of the rhythm, just like in the music he created with The Coup. In the end, Riley’s film is primarily concerned with entertaining you, and it almost certainly will succeed in doing so, particularly if you’re willing to accompany it on a funky journey, no matter where it takes you.
Cassius “Cash” Green is played by the legendary Lakeith Stanfield, who gives one of his best performances to date as a young man who wonders, like so many others, what he’s doing with his life. In the beginning of the film, we see him talking with his girlfriend Detroit (Tessa Thompson, who simply makes everything she’s in better) about the common human dilemma that occurs when one considers the impact that one’s actions are having on the world. So many of us live from paycheck to paycheck and struggle just to stay alive, let alone make a difference in the world. Cash has a strong desire to accomplish something significant. He is going to do it.
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It is at this point that his life changes dramatically. He is hired for a horrible telemarketing position at a company called RegalView, which sells those relatively worthless encyclopedia books that some people have on their shelves but that few people ever read. Cash’s career takes off after he is advised by a colleague (Danny Glover) to use his “white voice,” and he quickly climbs the corporate ladder, eventually gaining access to the golden elevator that is reserved for “power callers.” Only the “white voice” is allowed to be heard on the top floor, where the men and women who work there don’t sell books. In addition to selling illegal items, Cash is also skilled at attracting the attention of the maniacal Steve Lift (Armie Hammer) as well as the displeasure of Detroit and his fellow co-workers, who have been struggling to unionize in order to protect worker’s rights.
Sorry To Bother You Quiz
Riley packs his Faustian saga with enough social commentary to fill at least a dozen comedies, despite the fact that stories of men selling their souls for success have existed since the invention of the written word. Every scene has the impression of operating on multiple registers. The ability to make people laugh while also making them think is much more difficult than it appears. Riley’s script for “Sorry to Bother You” strikes an ingenious balance in this regard, and it is this that distinguishes Riley’s work. It never loses sight of the fact that it must entertain while also serving as a wake-up call for viewers to ask more questions about their own priorities as well as the priorities of those in positions of authority. It’s also visually arresting, especially for a first-time feature. Everything about “Sorry to Bother You” is confident, from the fantastic costume design to the visual flights of fancy (such as when Cash’s garage apartment literally transforms as Cash earns more money and a literal nod to Gondry in a corporate Claymation video) to the film’s visual language, which is something that so much comedy lacks.
Also, you will find out which character are you in this Sorry To Bother You quiz.
Great satires don’t hold back, and Riley cranks up the volume on the majority of his choices. Instead of having Stanfield impersonate a “white voice,” he dubs Stanfield with another actor, which is a stylistic choice. Almost from the beginning, he establishes that this is an exaggerated, insane world—a funhouse mirror version of our own that could only be created through the medium of film. That recklessness leads to a final act of insanity that will alienate some viewers; both times I’ve seen the film, I could feel a portion of the audience leaving the theater as the film began to veer into science fiction. For me, it’s exciting when a filmmaker doesn’t back away from the edge, but instead chooses to go right over it. So, while that section of the film may be weaker than what came before it, I still admire the filmmakers’ willingness to take the risk of going there.
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A large number of films will be released this summer that will appear to be the product of focus groups and marketing teams. Every frame and choice in “Sorry to Bother You” feels like a declaration of a major new talent, which is exactly what it is in reality. I’m looking forward to seeing what he comes up with next.Also, you must try to play this Sorry To Bother You quiz.
For more personality quizzes check this: Bad Times At The El Royale Quiz.
