SORRY TO BOTHER YOU (dir. Boots Riley, 2018)

well i especially noticed in the bar scenes that the b.g. music was absurdly low, to the point where i was fully conscious of the actors doing their dialogue with no on-set track at all.

a bunch of the score was by tune-yards

yep

agreed about the shonky world-building (it is really hard to connect a world with Worry Free to a world with 2018-style labor struggles in a telemarketing office - wouldn't they just fire everybody and replace them with Worry Free? if this company is also in the kind of business we ultimately see upstairs, why would it even care about the normal telemarketing downstairs?). would add as a gripe that the gender politics are pathetic --- it fails the bechdel test outright, and the detroit-squeeze pairing raises shades of "male character loses sexual fidelity of woman, marking his low point." (also distracting given what we've been told about squeeze's sex life, in the film's worst and most tonally off joke.) buttttttttttttttttt i am glad this movie exists. the good kind of shaggy and unfocused i'd say. putting tons of stuff on the table. new metaphors and images that people are hungry for, for a bunch of different pressing issues. big, bold, eager. i wish i'd had this to chew on as a high school junior instead of just bulworth and wag the dog.

oh and bamboozled obv.

o wait that was 2000

i didn't get the sense the movie was interested in world building as much as it was trying to show what present day oakland looks like.

The key Stanfield-Hammer scenes were among those that needed tightening, but Armie had one hilarious line reading: "I'm not insane."

worry free is a standin for wework, no?

i didn’t find it hard to connect the worryfree world with the low wage telemarketing one - it seemed clear that worryfree was new and trying to aggressively expand, cf that scene with the freshly cleared out housing tracts, and a la so many development efforts that start off like a house on fire and reap the uncritical press attached to the business world, and the telemarketing efforts were connected to that expansion and would probably be swallowed up by it eventually.

hey, everyone doesn’t have a tesla but it still gets a lot of press.

that's fair!

amazon too is a model here. or at least the way it’s been expanding

oh def, I really assumed workfree was mainly about conditions in amazon express-shipping facilities and so on. arguably the lifetime-contract thing is what the movie really gets wrong: the trend is towards making labor more disposable, part-time, and precarious, not locked-in for life.... not a major problem tho. i do wish hammer got a line about like "hey these people all signed contracts, it's an equal agreement" or w/e. big part of that whole ideology that cd be made explicit.

but again since the movie (usefully) has its mind on so many things, it'd be unfair to expect it to be a perfectly developed drilled-down satire on all of them. the one sold in the trailer is the one it does best: what white people want to hear and see black people as being, and people trying to maintain their ethical and personal centers despite the dehumanizing qualities of this racism joined with the power of capital. the pairing of detroit's performance piece and cash's unwilling rap pays this off particularly well even if it seems oddly unfair to the detroit character. (and then the attempts with varying success to mobilize performance/imagery/white-assumptions strategically also fit in this frame...)

i thought it was more hooked into the wework apartment buildings (which seem more friendly because of the demo they're pitching to)
https://www.welive.com/

wow, i somehow hadn't heard about those! yah good connection.

yeah here's a piece on it

https://www.gq.com/story/inside-welive

I know this script got developed through the Sundance Lab, but they let Riley down imho. The romance and the triangle situation with Squeeze were played much too straight, and padded this by at least 10 minutes.

I don't know if Detroit's cellphone/Year of the Dragon performance piece was sposed to be bad or not... I've seen much worse.

y'all have some real dumbass pickyass pettyass grievances with what is essentially a hyperstylized satire

"this scathing critique of the horrors of late capitalism doesn't even pass the bechdel test" is some real "alexa what is neo liberalism"

I think we get that! but the execution fell flat (and i'm not talking about the sci-fi twist, that saved the last act for a little while). xp

the action climax went on way too long and i felt the audience enthusiasm being sucked outta BAM. I liked the last scene and the coda fwiw.

"i felt the audience enthusiasm being sucked outta BAM"

the essence of Emeril

again, i liked the film plenty! i'm really glad i saw it and glad it exists! i still think it's worth marking really underdeveloped/served-as-an-accessory female characters in what is getting bandied around in the conversation as the year's wokest movie or whatever. professional critics have also observed this problem, while praising the movie overall.

the Last Dragon performance - - - i think it's a reasonably complex scene where you could simultaneously see detroit's intentions and cash's reaction. i don't think it's "supposed to be bad" (though it kinda is - reminds me of doonesbury pastiches of early 80s performance art).... but i do think that it's significant that it's the one scene where we see detroit using her own "white voice," and - - - - sorry i feel like i would get into spoilers to really spell it out, but it's basically directly before the 'rap' scene and they're both about groups of white people basically being reassured that some form of performed racism/abuse of the performer is totally okay and they they audience have been invited to do it by the black performer so hey we're all cool right?? and then we have this universe's version of "i'd buy that for a dollar," or the big memeification of violence subplot, and at a meta-level here we have this movie, a comedy, about black characters suffering... blah blah blah, just saying i think her performance piece is supposed to both a sincere piece of her larger radical praxis (which as we've seen covers a few different kinds of activities), and deeply enmeshed in the economics and power structures of this world..

iirc she uses her white voice in the telemarketing boiler room too

Detroit’s white voice was really funny and pointed

Anybody else catch “Both Sides Convenience Store”?

I didn't. Was trying to keep up with the changing earrings gag.
do you think tessa thompson is better developed here or on westworld?

arguably the lifetime-contract thing is what the movie really gets wrong: the trend is towards making labor more disposable, part-time, and precarious

the scary thing about the future isn't that this unsustainable trend will continue forever, but that as its accompanying social instability increases capital will look for ways to reverse it without actually distributing power to workers, and hit upon reconstructing feudalism

(also of course u.s. prison labor not partic precarious)

excellent point. yes.

Oh good, another promising movie derailed by America's obsession with race

Keep it up

huh?

lol

Oh good,

Oh I just assumed, having watched Get Out yesterday. If I'm wrong, soz

yeah, Get Out would have been a lot better if it had no racial element and instead was a 15 second movie about a girl casually checking her computer and eating cereal and we don't see what she's looking up

Those are the options, true

"i was intrigued by this satire on race in america, but have recently heard things that suggest it may have been completely derailed by including a discussion of race in america. ughhhh it's like get over it already!!!!!"

"i figured the 'white voice' scenes in the trailer referred to telemarketers imitating Betty White. not into all this racial commentary but i do loves me some #GoldenGirls #spiritguide #betrayed"

anyway "America's obsession with race" is a weird way to say "the centuries-long cultural impact and intergenerational trauma of American chattel slavery"

I do like Whiney's movie pitch, though I think it'd be better as a seven hour version, turn up the volume on the cereal

Alison Williams Eats Cereal While Posting About America's Obsession With Race Mechanical Keyboard 4 hours ASMR

I have to admit I found the pro-TSA sentiment in Get Out disturbing.

it was pro tsa worker not pro tsa. very different things

yeah, pretty sure the fact that Rod the TSA Agent saves the day in Get Out was a joke about how useless TSA is in real life.

Slavery isn't something that can ever be forgiven/recovered from. So, move on. Stop trying to deal with it, it can't be. Shit happened. I live in a country where English colonists invaded and didn't much respect the native ppl, we've lived with it. It isn't great but it is what it is.

Otoh be sarcastic on the internet to other white ppl

Keep going

Oh pls you thought Get Out was going to win best movie

The famous best movie award

The fuck is wrong with you albvivertine

Anyway I enjoyed this, warts and all. Wish Yeun and Thompson's parts were improved or excised.

How much time/money was spent on the Michel Dongry short? That was great.

It was, but it completely horrified me! That part where the view pans up and you get a Simpsons-esque view of between the floors, and it just looks like flesh and bone...ugh. Such a little detail but important. The whole film seems to be about flesh in one way or another, pretty obvious given it’s about capitalism. The most popular tv show is about people being subjected to horrific physical abuse, the Worryfree system is buying whole families of people to farm out for labour, Detroit’s piece involves her exposing her body while the audience injure and stain it. The equisapiens are designed to improve on the inherent weakness of human flesh etc.

I’m going to feel really silly if I get this on Blu-ray and find out that’s not what it was meant to be at all!

Other things I liked:
- obvious but still funny shot of Lift with both republicans and democrats, just to rub it in
- the worryfree ads increase in scale and frequency to where they’re telling people to sign their whole families up. Maybe children are better at putting together high end electronics? It reminded me of that black mirror episode about the bike farms where families are separated.
- lift says worryfree isn’t slavery because there’s no coercion or violence but cassius’s uncle is considering signing up in desperation he’s going to be made homeless and his diabetes is playing up.
- the cribs parody with the dead-eyed workers was great and reminded me of those creepy fake amazon worker twitter accounts
- whole film looked amazing

Anyway this comes out this week in the UK I think?

Looks like it. Kermode loved it:

https://www.youtube.com/watch?v=uQkloGDZjSY

Liked this a lot.

Kermode's review is so plodding, drawn-out, obvious and lifeless. Was he always like this?

Blindspotting is the fleshed out sociopolitical realism that STBY veers into in between the heavily stylized genre stuff

Really? Including the magical-realist ending of rapping at a killer cop while you're holding a gun on him?

Well not that part lol.

I was too charitable to Blindspotting, which no one will remember... it is milquetoast in comparison to STBY, which remains a mess, but a memorable one, and it hits highs that Blindspotting never does.

"I'm a Virgo" out on Prime today - looks weird!

https://www.youtube.com/watch?v=PSyKhFwEo7c

Watched the first episode. The attention to detail in the little burger boxes, Cootie's stitched-together clothes, the innocent, Ted-Theodore-Logan way he talks, it's all great. The only thing giving me pause is that I'm sure something terrible is going to happen and I don't want it to.

Weird, I was just watching Carmen Ejogo in True Detective (s3) so looked her up seeing her in this trailer - had no idea she was British and previously married to Tricky!