It’s a provocative, serious, ridiculous, screwy concoction about whiteface, cultural code-switching, African-American identities and twisted new forms of wage slavery, beyond previously known ethical limits.
Sorry to Bother You is so smart and so potent for so long — and so inventive yet thoughtfully measured in its use of the absurd — that the flaws simply give way. You don’t remember the endings of dreams, after all — just the parts that left you in a pool of your own sweat.
The story’s heightened reality works best when it’s barely distinguishable from our own—though it starts to lose steam the more it drifts into fantasy. The movie is at times a mess, but a compelling one, and this debut from Boots Riley should herald a fascinating filmmaking career.
Most of the film, which also has links to Spike Jonze’s "Being John Malkovich," plays like a variation on some of Spike Lee’s more scabrous racial fantasias like “Bamboozled.” It’s also very much in the vein of films like “Get Out,” which also mixed horror, racial comedy, and social consciousness, though here to far less effect.
i didn't understand this movie at all and i feel bad for it. Every performance was great by default but this movie is just too surreal for me. It is an interesting concept, and i praise Boots Reily for it, but it was just too weird and strange.
It started out well enough as a pretty OK satire on call centers but half way through the satire shifted to something more sinister. The first sign was probably when Danny Glover came across as creepy with the "white voice". Then the sinister eventually managed to become completely far fetched. So, rest assured that the movie escalates a lot.