Tag Archives: satire

ONCE UPON A TIME IN HOLLYWOOD (2019) – FILM REVIEW – A $90 MILLION “ARTHOUSE” & FETISHISTIC CLASSIC!

ONCE UPON A TIME IN HOLLYWOOD (2019) – FILM REVIEW

Directed and Written by: Quentin Tarantino

Produced by: David Heyman, Shannon McIntosh, Quentin Tarantino

Cast: Leonardo DiCaprio, Brad Pitt, Margot Robbie, Emile Hirsch, Timothy Olyphant, Margaret Qualley, Austin Butler, Al Pacino, Mike Moh, Bruce Dern, Dakota Fanning, Damien Lewis, Kurt Russell and many, many more.

Cinematography: Robert Richardson

**MAY CONTAIN SPOILERS**

From watching the trailers for Quentin Tarantino’s ninth film, Once Upon A Time in Hollywood (2019), I remember thinking: this looks so cool and I’m glad they haven’t given away much of the story here. Because, I hate those darned trailers which give away the story!

So, you watch Quentin Tarantino’s ninth film and then you realise, after the excessive running time, THERE ISN’T REALLY ANY STORY as such! Okay, DiCaprio’s character suffers an existential career crisis but that’s kind of it. Instead, you get mostly a nigh-on three-hour historical and cultural nostalgia trip down memory lane filtered through the artistic and fetishistic vision of one of cinemas great filmmaking iconoclasts.

Once Upon A Time in Hollywood (2019), is essentially an arthouse character study where you get to hang out with two-and-a-half lead protagonists, plus a whole army of fictional and ‘real’ life supporting characters from the 1969 Hollywood era. Our two main “heroes” are neurotic, alcoholic B-movie actor, Rick Dalton (Leonardo DiCaprio), and tough, handsome and laconic, Cliff Booth (Brad Pitt). The two characters contrast and complement each other perfectly. Moreover, the star quality, chemistry and fine performances of the lead actors bind the movie together amazingly.

Brad Pitt is especially brilliant. His character is not, until the violent ending, given much to do story wise; however, he does it with such charm. He imbues a character who has accepted his place in the world with such easy-going humour and control, it is an absolute joy to watch. It’s an iceberg performance which seems shallow on the surface, but has hidden and unsaid depth. I really wanted to know more about his character, especially what appeared to be a very colourful backstory.

DiCaprio, on the other hand, has the showier performance. Edgy, hungover and insecure due to his characters’ fading Hollywood career, DiCaprio gives another fantastic movie performance. He commits to the Dalton character and features in some wonderful sketches which pay homage and parody B-movies, TV variety shows and old TV Westerns. What I loved was his ability to demonstrate different levels of acting skills. DiCaprio can fuck up Dalton’s acting on set one moment, but then deliver acting on a Shakespearean level the next.

Margot Robbie, who we know is a brilliant actor in her own right, alas, is not afforded the same level of care in regard to the characterisation of Sharon Tate. More of an ornamental character in the film, she looks great going to the cinema, packing a suitcase, driving and generally just being effervescent. Yet, it’s truly is one of the film’s major flaws that it doesn’t make more of Robbie’s acting talent. Even the fantastic ending, which Tarantino, takes incredible liberties with in regard to actual events, finds Tate’s character development unfortunately left bereft of emotion.

Similarly, the Hollywood cameos echoing throughout the films are pure style over substance. For example Steve McQueen, Roman Polanski and Bruce Lee feature but these are mostly inconsequential encounters. The Bruce Lee representation and scene is actually really funny as Cliff Booth and the martial arts star face off in a hilarious flashback. Typically, Tarantino has caused controversy with his Bruce Lee (Mike Moh) rendition. Personally, I respect that people may be offended, however, it’s more comedic and iconoclastic rather than overt racism. After all, this is a fairy-tale vision of Hollywood and not a documentary. Plus, Tarantino knows he’s going to piss people off so it’s obvious he’s playing with people here.

While Bruce Lee’s persona is playfully satirized or racist depending on your point-of-view, Tarantino’s representation of the Manson family is more damning. It’s clear he absolutely hates hippies, especially acid-looped killer hippies. Dalton and Booth represent the old-school, honest Hollywood working class, so are the antithesis of the drop-out youths. The culture clashes between this era and the new flower-power cults is something Tarantino explores. Charles Manson, who barely features, is a ghost-like figure though. Instead, it is the character of Tex (Austin Butler) and the females of the commune who are most prominent.

Margaret Qualley as Pussycat is especially hypnotic in her role. Exuding both sexuality and acid-drenched nihilism, Pussycat is a siren hitcher, luring drivers to symbolically crash against the cliffs. For me, Tarantino should have made way more of the old and new California culture clash themes, as they resonated powerfully when on screen. Plus, the scenes on the commune were actually quite creepy, so more should have been made of this threat from a dramatic perspective. Lastly, the irreverent and violent final act carnage exploits the clashing of these two different cultures, but more could have done throughout to enhance this dynamic.

Overall, Once Upon A Time In Hollywood (2019) is a near three-hour arthouse classic. If you like films about film and TV making, driving, feet, ensemble casts, films within films, cinema-going, Los Angeles, more feet; and hanging with the marvellous DiCaprio and Pitt in a 1969 setting, then you will love this beautifully rendered and lovingly crafted film about Hollywood. Otherwise, you will probably find it a boring, indulgent and style-over-substance folly. Either way you have to admire Tarantino’s exquisitely controlled writing and direction. He certainly does!!

Safe to say though Tarantino will not care either way, because most of his filmic output has made a lot of money at the box office. This has now allowed him the luxury, like that of true cinema artists such as Kubrick, Altman and Antonioni, to make whatever films a studio is prepared to give him the money for. He’s basically making films for himself and doesn’t care if the audience likes it or not.

I personally found myself magnetically drawn to Tarantino’s vision and from a purely filmmaking and artistic perspective I was totally immersed throughout. Having said that, if the incessant driving and shots of dirty feet were cut and Dalton and Booth had been given a proper plot, rather than the thin stranded narrative within the impressive gallery of cameos and set-pieces, I would definitely expect to be writing about one of the best films ever made.

Mark: 9.5 out of 11

BLACK MIRROR (2019) – SEASON 5 – NETFLIX REVIEW

BLACK MIRROR (2019) – SEASON 5 REVIEW

Created and written by: Charlie Brooker

Producer(s):  Charlie Brooker, Annabel Jones

Season 5: 3 Episodes (excludes Bandersnatch (2019)

Original Network: Netflix

Having positively reviewed Season 4 of Charlie Brooker’s wonderful anthology show here and the recent “choose-your-own-adventure” stand alone film, Bandersnatch (2019), here – I can further confirm I am a massive Black Mirror fan. Indeed, if Charlie Brooker wrote and produced a story about himself having his toenails clipped in the future, I would definitely enjoy it that too.

Lastly, it’s safe to say I certainly loved the latest three episodes of the programme and not just because Brooker wrote them. It’s because the ideas relating to the darker side of technology are so fascinating and of course the productions are of very high quality. Here are mini reviews of each episode with usual marks out of eleven.

**MAY CONTAIN SPOILERS**


STRIKING VIPERS (2019)

Director: Owen Harris

Cast: Anthony Mackie, Nicole Beharie, Yahya Abdul-Mateen II, Pom Klementieff and Ludi Lin.

Danny (Mackie) and Theo (Beharie) portray a loving couple who having been together for some time suffer a marriage dip and a somewhat curious eleven-year itch. This drama is especially propelled when Danny’s best mate, Karl (Abdul-Mateen II) reconnects with Danny and the two play the Virtual-Reality video-game, Striking Vipers, online. Soon the two enter into a curious online relationship, one which threatens their relationships and sanity.

While the danger of videogames and VR have been explored before in Black Mirror, this is freshly presented both dramatically and humorously via an unexpected and bizarre love triangle. I was very empathetic for the main characters as they felt trapped by family life and struggle to keep the romance going. Plus, that need to escape propels some hilarious scenes that pay homage and parody combat videogames in general. Funny, touching and surprising, Striking Vipers is an excellent season opener.

Mark: 9 out of 11


SMITHEREENS (2019)

Director: James Hawes

Cast: Andrew Scott, Damson Idris, Amanda Drew, Monica Dolan, Topher Grace etc.

Actor-of-the-moment, Andrew Scott, gives another blistering performance as a rideshare/”Uber” driver, Chris Gillhaney, who kidnaps a young Smithereen employee, Jaden (Damson Idris). Smithereen are a social media company not dissimilar to Facebook or Twitter, and Gillhaney holds a serious grudge against them. It’s so serious in fact, he will kill Jaden if he doesn’t get to speak directly to Smithereen CEO, Billy Bauer (Topher Grace).

Structured around a very tense standoff in an English field between Gillhaney and the Police, the events also go ‘viral’ via social media and online news platforms. Scott’s characterisation of Gillhaney is dramatically impressive. He emits a sadness, guilt and anxiety which forces his character to commit an unlikely crime. While we do not condone his actions Scott keeps you onside with his sterling portrayal of a man on the edge. Ultimately, the narrative turn at the end impacted me because it felt so believable and human. Once again Brooker taps into the heart of the technological matter and how reliance on it can cause tragedy and senseless loss of life.

Mark: 9.5 out of 11


RACHEL, JACK AND ASHLEY TOO (2019)

Director: Anne Sewitsky

Cast: Miley Cyrus, Angourie Rice, Madison Davenport, Susan Pourfar etc.

Pop star Miley Cyrus stars as pop star Ashley-O in this dramatic and comedic techno satire, which finds her character being pushed to the creative limit by her unscrupulous manager. At the same time Ashley-O uber-fan, Rachel (Angourie Rice), worships every word Ashley O’s manufactured persona spits out; much to the chagrin of her metal-head sister, Jack (Madison Davenport.) The two sisters’ conflict is exacerbated when Rachel is given an Ashley-O smart speaker and Rachel becomes obsessed with the techno doll. As the story progresses the two Ashley-O narratives connect in a somewhat contrived but captivating way.

Starting as a teenage-rites-of-passage-profile-of-a-pop-star-mash-up, this narrative crosses the genres and becomes a heist-led comedy by the end. With so many criss-crossing leaps in style the characters get a little bit lost in the mix of ideas. However, use of technology to exploit both the pop singer and the all-consuming fan finds Charlie Brooker’s satirical darts hitting more targets than it misses. Arguably, this is the weakest of the three episodes as the onerous pop manager is a bit of a cliche. Plus, more planning could have gone into the final act when it all felt rushed. It is nonetheless very entertaining episode, very much on point in its vision of pop culture, the music industry and society’s ever reliance on technology for emotional interaction.

Mark: 8 out of 11

HBO TV REVIEW -SUCCESSION (2018) – SEASON 1 – BRILLIANT SATIRE ABOUT RICH AR$£HOL£$!

HBO TV REVIEW – SUCCESSION (2018)

Created by – Jesse Armstrong

Writers – Jesse Armstrong, Jon Brown, Jonathan Glatzer, Anna Jordan, Lucy Prebble, Georgia Pritchett, Tony Roche, Susan Soon He Stanton

Directors: Adam Arkin, Miguel Arteta, S.J. Clarkson, Adam McKay, Mark Mylod, Andrij Parekh

Executive Producers: Ilene S. Landress, Kevin Messick, Franch Rich, Will Ferrell, Adam McKay, Jesse Armstrong

Producers: Regina Heyman, Dara Schnapper

Cast: Hiam Abbass, Nicholas Braun, Brian Cox, Keiran Culkin, Peter Friedman, Natalie Gold, Matthew MacFadyen, Alan Ruck, Parker Sawyers, Sarah Snook, Jeremy Strong, Rob Yang etc.

Composer: Nicholas Britell

Original Network: HBO

**MAY CONTAIN SPOILERS**

“Money, money, Money! Must be funny! In a rich man’s world!” ABBA

Is it funny? In a rich man’s world? Or woman’s? Or anyone’s?

From my perspective I’ve never understood the desire for incredible wealth and power. Of course, it is great to be comfortable and have the money to feed, clothe and house yourself. But, that need and want to have extravagant things is beyond my comprehension. Obviously, if you’re born into money, it could be deemed unavoidable. Some may say it’s a curse. However, we all have choice as to how we behave whether we have money or not.

Personally speaking, I have everything I need to live. I have enough nice things. I have a car, television, mobile phone, computer, food, clothes, shoes, people I love and, at time of writing, my health. I have enough. For some enough is never enough. The extreme is only halfway. Ambition and power and wealth and greed drive them forward. Their desire for more has no limit.

Succession (2018), is another television show about the darker actions of the filthy, selfish and narcissistic rich. Similar, but far more poisonous than Showtime’s hit Billions, the narratives are driven by power games from the Machiavellian playbook. Set within a behemoth media conglomerate, Waystar Royco, led by octogenarian, Logan Roy (Brian Cox). the plots and subplots focus on the various family members and fucked-up personalities within this permanently dysfunctional family. The characters are not so much ‘Masters of the Universe’ but masters and mistresses of their own calamitous downfalls.

Is it funny though? In a rich man’s world? Well, based on Jesse Armstrong’s creation Succession (2018), it is! Unsurprisingly, from a writer who has worked on such comedy masterpieces as Peep Show, The Thick of It, Four Lions (2010) and Veep, these ten episodes contain some of the most biting and sarcastic dialogue and situations you could experience. It’s black though. It’s tumour humour. These are cancerous laughs which eat you from the inside. You’re entertained watching the programme but simultaneously aware of how accurate its’ dark vision of humanity, greed, power and family life is. No one gets out of here alive, including the audience.

The show bleeds quality from cast to production values to direction and not forgetting Nicholas Britell’s incredible score. You have to have a strong stomach to watch so many irredeemable and unlikeable characters all inhabiting the same space. But the writing is an absolute marvel with all manner of slicing one-liners which cut with scalpel like precision. The main narrative strands involve the children challenging their father’s running of the company. Watching Brian Cox viciously curse and do battle with them is drama of the weightiest kind; almost Shakespearean at times.

Lastly, I must say the acting is of the highest order. Sarah Snook, as political campaigner daughter, Siobhan, is destined for big things. British actor Matthew MacFadyen gives a nuanced comedic rendition as Siobhan’s fiancé; both sycophantic to the Roy family and a bully to company underlings. Kieran Culkin is sleazy and the most unlikeable of all, while Alan Ruck’s passive aggressive older son waltzes in and out of scenes with consummate skill.

As Logan Roy Brian Cox is well, just so Brian Cox; sweary, growling and menacing. His character locks horns most of all with second son, Kendall Roy. Portrayed exceptionally by Jeremy Strong, Kendall is a sad figure, attempting recovery from drug addiction, but cursed to desire to lead his fathers’ company. This leads to him making some incredibly dubious decisions. Because enough is never enough and that is the tragedy. In Succession, it is far from funny in a rich man’s world. It is sick, twisted and ultimately very black.

Mark: 9.5 out of 11

BARRY (2018 – PRESENT) – S1 & S2- HBO TV REVIEW

BARRY (2018 – PRESENT) – S1 & S2- HBO TV REVIEW

Created by: Alec Berg, Bill Hader

Producer(s): Aida Rodgers, Emily Heller

Writer(s): Alec Berg, Bill Hader, Emily Heller, Liz Sarnoff, Sarah Solemani, Ben Smith etc.

Director(s): Alec Berg, Maggie Carey, Bill Hader, Hiro Murai, Liza Johnson, Minkie Spiro etc.

Cast: Sarah Goldberg, Bill Hader, Stephen Root, Glenn Fleshler, Anthony Carrigan, Henry Winkler etc.

Original Network: HBO

**MAY CONTAIN SPOILERS**

Critically acclaimed and Emmy award-winning dark comedy satire, Barry (2018) stars Bill Hader. He plays the eponymous lead, a hitman, who travels to Los Angeles for “work” and then finds himself joining an acting class by mistake. The comedy and drama of his finely written and directed HBO show derives from the dialectic juxtaposition of crime and war film tropes mixed with narcissistic and delusional Hollywood creative types. But is it any good? Yes and no!

Technically this is first rate and challenging entertainment; obsidian black in its’ humour and at times very compelling as drama. Stylistic influences are clearly the likes of: the Coens, Quentin Tarantino, Robert Altman and Elmore Leonard’s novel/film/TV series Get Shorty. However, I don’t think I liked it as much as those or as much as the panel of Emmy Award judges.

Personally, I don’t like, irrespective of their quality, shows or films titled after a single-name character. It’s just a personal thing. More importantly the show tries so hard to be cool. It has a knowing “everything-but-the-kitchen-sink-cultural-melange” vibe. Plus, tonally it is all over the shop. One scene will be a hilarious situation involving bad acting from the class; and the next Barry will be blowing someone away. How am I meant to feel about such a lunge from comedy to drama involving so many unlikeable characters?

As Barry Block/Berman, Bill Hader is absolutely brilliant. He wants out of the murder business and is haunted by events from the military. Because of this I have much sympathy for him. However, this empathy is tested by some of his more heinous actions. Hader nonetheless delivers an iceberg cool performance with a searing internal pain. In the second season especially, his post-traumatic stress is explored intensely; and when he explodes with anger it resonates powerfully. Conversely, I wanted more of this than the parodic Chechen and Bolivian gangsters, who just aren’t funny.

In support, Stephen Root is brilliant as Barry’s exploitative handler and so-called friend. Sarah Goldberg as the neurotic actress, Sally Reed is a revelation. This is especially the case in the second season when her character gets some interesting storylines and great monologues. Likewise, Henry Winkler steals many scenes as the acting coach, Gene Cousineau; forever name-dropping and shilling for a quick buck.

Overall, Barry can be recommended for the excellent cast and mostly complex characters. While I would have preferred the dumb comedy to be reduced, there are indeed some great episodes throughout the two seasons. So, if you are looking for an intense exploration of human existence you get an element of that within the mix of: humour, satire, violence, shoot-outs and plot twists. But maybe, like the lead character, Barry tries to do too much all at once; however, at least it tries.

Mark: 8 out of 11

US (2019) – CINEMA REVIEW

US (2019) – CINEMA REVIEW

Directed by: Jordan Peele

Produced by: Jason Blum, Ian Cooper, Sean McKittrick, Jordan Peele

Written by: Jordan Peele

Starring: Lupita Nyong’o, Winston Duke, Elisabeth Moss, Tim Heidecker, Shahadi Wright Joseph, Evan Alex etc.

Music: Michael Abels

Cinematography: Mike Gioulakis

**MAY CONTAIN SPOILERS**

Orson Welles is reportedly quoted as saying, “A movie in production is the greatest train set a boy could ever have.” Thus, Jordan Peele proves this point with an unstoppable cinematic train ride in Us (2019); that while threatening to career off the rails on occasions, proves to be a thrilling work of horror-meets-social-satire entertainment.

The film centres on an everyday normal family of four — the Wilsons: Adelaide (Lupita Nyong’o), Gabe (Winston Duke), and their two children — as they visit their summer home by the beach. Haunted by a scary incident in a hall of mirrors when a child, Adelaide is afraid to return to the beach where it occurred, until her husband’s goofy enthusiasm wins her over.

Events begin to turn and twist askew when their son, Jason, seems to go missing for a while. Even though he returns, paranoia and fear sneaks into Adelaide’s psyche. Things become even stranger when a mysterious family of four appear in the Wilsons’ drive in the dead of night. This is when the true face of horror surfaces and a pulsating home invasion and prolonged chase sequence ensues.

Peele has clearly seen a lot of horror films. As such the early scenes build tension perfectly with: stormy weather; a strange drifter with biblical sign haunting the boardwalk; creepy hall of mirrors; the choral soundtrack reminiscent of Rosemary’s Baby (1968); the son, Jason wearing a Jaws (1975) movie t-shirt; the flock of seagulls on the beach echoing Hitchcock’s The Birds (1963); and so it goes.

Such horror tropes build a huge wall of tension so effectively it’s almost a relief when released during the big doppelganger reveal. Subsequently, the blood-letting ensues in some meaty fights and exchanges involving weapons, such as: baseball bats, metal pokers, ornaments and golf clubs. The doppelgangers themselves are clearly a reflection of the self; twisted visions of humanity turning against the characters, as they literally become their own worst enemies.

The cast are expertly marshalled by Peele, as he gets doubly great performances from all the actors. The logistics of shooting doubles must have been tough, especially so many at a time. The featured cast are very good, notably Winston Duke as Gabe Wilson. He offers some light, comedic and physical humour amidst the gore. Meanwhile, Lupita Nyong’o steals the show in the dominant twin roles of Adelaide and the nefarious Red.

It’s Adelaide’s personal journey of double/split identity which provides the spine of the film. As she fights to save her family she must also literally battle the demon inside and outside herself. This thematic is the most powerful of the film for me, as Nyong’o’s acting is full of emotional resonance.

Perhaps, not as successful, when compared to Get Out, is the attempt to marry the personal conflict to the socio-political landscape. While Peele’s first film was an overt satire of slavery and white America oppression and exploitation, Us’ targets are intellectually more ambiguous and open to interpretation. I mean take your pick from: class, capitalism, consumerism, race, de-politicization, narcissism, over-population, split personalities, government conspiracies; and over-arching fear of ‘the other’.

These and many more themes are on Peele’s radar, as is his overall critique of the United States (U.S. = US – geddit!). That they don’t quite gel coherently is not a criticism but a positive indictment of his ambition. Conversely, while I felt the underlying power of Peele’s call-to-arms and desire for human unity in Us, one could argue the fire, smoke and mirrors of these ideas subtract from the power of the families’ personal struggle. Moreover, what is the solution to the government copying us or burying our doubles underground? Is it to kill the others and hold hands in unity? Who knows? What I can say is such naive idealism in horror has never been so entertaining.

After the success of the slavery-soul-swapping and genre bending thriller, Get Out, Jordan Peele has tasked himself with trying to top that fine movie. Well, if Get Out was the starter, Us is the main meal. In fact, one could argue the film is so full of ideas that it threatens to fail due to sensory overload. However, Peele is such a multi-talented storyteller he skilfully delivers, wholly thanks to great writing, masterful film production, an exceptional soundtrack and an incredible cast.

Mark: 9.5 out of 11

VELVET BUZZSAW (2019) – NETFLIX FILM REVIEW

VELVET BUZZSAW (2019) – NETFLIX FILM REVIEW

Written and directed by: Dan Gilroy

Produced by: Jennifer Fox

Starring: Jake Gyllenhaal, Rene Russo, Toni Collette, Tom Sturridge, John Malcovich, Zawe Ashton, Daveed Diggs, Billy Magnussen, Natalia Dyer etc.

Picture the scene: a starving child in Africa passively stares at a camera while a fly irritates their big sad eyes, and they do not know when their next meal is coming from. Meanwhile, in a New York auction house a painting by Cezanne or Gauguin or Picasso is selling for over $200 million dollars! What the fuck is wrong with the world?!  I’m not saying these paintings aren’t great art it’s just that there is NO WAY that amount of money should be paid for a painting when there is starvation, disease, and poverty in the world. It’s just an indictment of the sickness of humanity, that we place such value on what effectively amounts to canvas and paint placed in a particular manner by some dead person. It’s utter madness!!

DON’T GET ME STARTED ON SO-CALLED MODERN ART!!

Yeah, sure, maybe I DON’T GET IT!! Maybe one should be allowed to express themselves from a creative and emotional perspective but THEY ALSO WANT PRAISE FOR IT!!! And MONEY! And adulation! Of course, certain painters, sculptors and creative types expressing themselves can become a transcendental experience but mostly it’s a bunch of pretentious wankers conning us into thinking what they are doing is important. Come the fictitious revolution occuring in my imagination, most modern artists will be on the hypothetical spikes adorning the made-up barricades.

Tony Gilroy’s third film Velvet Buzzsaw (2019) taps into some of the ire I feel for the art world. It’s full of fake plastic and unlikable characters who spend their days stabbing and fucking each other in the back, all trying to sell us the next big fat artistic lie. When a never-famous painter dies his work becomes a cause celebre and further in-fighting ensues in an attempt to monetize his apparent genius. Jake Gyllenhaal leads an impressive ensemble cast as arsehole critic, Morf Vandewalt; while Rene Russo, Toni Collette, Tom Sturridge, John Malcovich and Zawe Ashton revel in their narcissitic and parasitic roles as agents, artists and art-whores.

Ultimately, this is a very broad comedic satire with some decent horror deaths thrown in. At times I felt like it should have been shot with a cast of unknowns on 16mm film, rather than the A-list hi-definition gloss presented. Firmly in the B-movie territory of say Final Destination and Driller Killer, it’s neither scary or bloody enough to make a convincing horror or gorefest. Having said that there are some fantastic deaths, very witty dialogue and memorable images throughout. Lastly, Gilroy’s work has kind of gone backwards since his phenomenal debut Nightcrawler, and this, without wishing to sound like a pretentious critic, is certainly a very minor work. Overall, though I enjoyed the coruscating digs at the modern art-world and all the arseholes who inhabit it; so that made it well worth a watch.

Mark: 7.5 out of 11

SORRY TO BOTHER YOU (2018) – CINEMA REVIEW

SORRY TO BOTHER YOU (2018) – CINEMA REVIEW

Directed by: Boots Riley

Produced by: Nina Yang Bongiovi, Kelly Williams, Jonathan Duffy, Charles D. King, George Rush, Forest Whitaker

Written by: Boots Riley

Starring: Lakeith Stanfield, Tessa Thompson, Jermaine Fowler, Omari Hardwick, Terry Crews, Danny Glover, Steven Yeun, Armie Hammer

**SPOILER FREE REVIEW**

Just when you think the well was drying up somewhat in regard to favourite films of the year, Sorry To Bother You (2018) comes along and jumps straight into my top twelve. Written and directed by activist and musician Boots Riley, this really is a humdinger of an absurdist comedy and must surely be a contender for best original screenplay of the year.

Centring on Oakland-based Lakeith Stanfield’s downtrodden everyman, Cassius Green, we find him unemployed and desperate to find work. So much so he takes a soulless commission paid job at RegalView selling encyclopaedias. So far so normal but very quickly events take many left field turns and Cassius is catapulted into a world of corporate greed, worker rebellion, romantic difficulties and some very weird science.

I do not want to give too much away but I had a blast with this film. Indeed, it’s best watched when you know as little as possible about the story. All throughout writer and director Riley has managed a great balance between believable situations and ridiculously surreal humour. His screenplay manages to satirise both the greed of corporate America and racial profiling, while at the same time never preaching or getting heavy. The tone of the film reminded me of so many films and TV shows I love, including: Being John Malkovich (1999), Atlanta, TheMighty Boosh and Monty Python’s Flying Circus. It’s also a thematic sibling to Jordan Peele’s massive horror hit Get Out (2017); which found white people exploiting Afro-Americans to nefarious ends.

The cast jump on board the many hyper-real and absurd concepts with abandon. Lakieth Stanfield, who is brilliantly deadpan in the show Atlanta, shows what a gifted actor he is. Again, Tessa Thompson proves what a brilliant actress she is as Cassius’ energetic artist and activist girlfriend; while Jermaine Fowler, Danny Glover and Steven Yeun provide really solid support. Special mention for Armie Hammer who really amps up the comedy with his representation of avaricious corporate megalomaniacs who care more for profits than they do for human life.

Incredibly, this is Boots Riley’s debut feature film and what a fantastic job he has done.  Sorry to Bother You is brimming with hilarious comedic scenes, on-point parody, textured style and credible social commentary. Cassius’ journey throughout is believable too as he is tempted by the promise of money but at severe and Faustian cost. Riley, within the hyper-reality of the world he presents, never strays far from the idea that the collective must join forces to overcome the paymasters. Ultimately, the film may be messy and chaotic at times but this project-mayhem-gonzo-style, along with the colourful design and moody cinematography combine to deliver one of the most memorable films of the year.               

Mark: 9 out of 11