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Sorry To Bother You [Blu-ray]
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Additional Blu-ray options | Edition | Discs | Price | New from | Used from |
Watch Instantly with | Rent | Buy |
Purchase options and add-ons
Genre | Comedy |
Format | Subtitled |
Contributor | Tessa Thompson |
Language | English |
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Product Description
In an alternate present-day version of Oakland, black telemarketer Cassius Green (Lakeith Stanfield) discovers a magical key to professional success, which propels him into a macabre universe of "powercalling" that leads to material glory. But the upswing in Cassius' career raises serious red flags with his girlfriend Detroit (Tessa Thompson), a performance artist and minimum-wage striver who's secretly part of a Banksy-style activist collective. As his friends and co-workers organize in protest of corporate oppression, Cassius falls under the spell of his company's cocaine-snorting CEO Steve Lift (Armie Hammer), who offers him a salary beyond his wildest dreams.
Product details
- Is Discontinued By Manufacturer : No
- MPAA rating : R (Restricted)
- Product Dimensions : 0.7 x 7.5 x 5.4 inches; 2.89 ounces
- Item model number : B07DKMRLCH
- Media Format : Subtitled
- Release date : October 23, 2018
- Actors : Tessa Thompson
- Dubbed: : French, Spanish
- Subtitles: : English, Spanish
- Studio : 20th Century Studios
- ASIN : B07DKMRLCH
- Country of Origin : USA
- Number of discs : 2
- Best Sellers Rank: #14,732 in Movies & TV (See Top 100 in Movies & TV)
- #1,210 in Comedy (Movies & TV)
- Customer Reviews:
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"Sorry" is about Cassius "Cash" Green (Lakeith Stanfield), a down on his luck black guy with no real skills who lives in his uncle's garage, and worries about whether he'll make a difference in life. By his side is his girlfriend (Tessa Thompson), an avant-garde artist and revolutionary.
Cash gets a job at a telemarketing firm where he discovers a hidden talent to speak in a "white voice" (brilliantly dubbed by David Cross) that catapults him into success. When everyone else at his call center tries to organize a union, he sacrifices his principles to cross the picket line and keep making more money.
The movie is really about Cash and how far he's willing to give up his principles for money. First, it's scam products. Then he gets promoted to sell WorryFree, a program where people become slaves in exchange for a lifetime of guaranteed room and board.
The point where the movie really goes off the rails is when Cash is taken to a party where he's offered the most twisted and horrifying job I could ever imagine. I won't spoil the surprise, but it's jaw-dropping and is the point where you're either in or out. I personally was in, because I saw how it was trying to show how corporate America tries to control its employees.
As someone who's worked in call centers for years, the frustration and moral struggle Cash went through rang true. There's also a great message about how greed can cause people to stop caring about others. There's also a lot of wonderful running gags and side jokes, like Cash having to pull the windshield wipers on his old car with a rope, and his girlfriend's crazy earrings.
More importantly, "Sorry to Bother You" shows how diversity can lead to new perspectives. I think only an African-American would have pursued the idea of slavery and dehumanization in this movie, and the struggles of Cash to fit into the white world where he's forced to freestyle rap and use a "white voice."
If you want to see a movie that's truly different in both comedy and science fiction, check this out. If you just want to see a lampoon of corporate America, check out "Office Space."
𝑺𝒕𝒊𝒄𝒌 𝒕𝒐 𝒕𝒉𝒆 𝒔𝒄𝒓𝒊𝒑𝒕.
Sorry to Bother You is a 2018 American surrealist black comedy film written and directed by Boots Riley, in his directorial debut. It stars Lakeith Stanfield, Tessa Thompson, Jermaine Fowler, Omari Hardwick, Terry Crews, Patton Oswalt, David Cross, Danny Glover, Steven Yeun, and Armie Hammer. The film follows a young black telemarketer (‘Cash’) who adopts a white accent to succeed at his job. Swept into a corporate conspiracy, he must choose between profit (by way of working for ‘Steve’) and joining his activist friends to organize labor.
Deliriously close to being a cold-call catastrophe, Riley’s idea of “putting on a voice” was inspired in part by his own experience as a telemarketer. Going further, his perspective was melded by the subjective goodness associated with the cause he would be tasked with championing.
Founded in 1936, The L.A. MIssion is among one of the largest service providers to the homeless population in the United States, and they depend substantially on the support provided through donations to fulfill their organizations’ needs. Expected to gather funds from out of what Riley’s describes as a “overwhelmingly conservative area”, core ideologies made begging for change (Literally too, but I digress) no easy assignment. It was this that made the importance of versatility and ethical compromise hinge so feverishly, as it was observed that people were far more likely to provide assistance financially if often incorrect perceptions about destitute individuals were pandered to (IE: The likelihood of a homeless person committing a crime) when compared to more altruistic pitches or motivations. This isn’t ‘𝑺𝑻𝑩𝒀’ impetus by an stretch, but a pretty necessary frame of reference: Without it many viewers might miss their shot in accepting that Cash’s attachment to a project proportionally larger than ones being previously obliged has real-world applications, and this may in turn lead to misreading bypassed measures of persuasion as over-eager opportunities for conflict.
On the topic of little (white) lies, ‘𝑺𝑻𝑩𝒀’ is a dissective flaunting of privilege that is sometimes quite literally on the nose. This is perhaps out of necessity, and is indicative of anticipating viewers that can’t relate to being disadvantaged by traits they can’t control, and justifies the relationship between the fictional ‘Regalview’ and ‘Worryfree’ as a blatant call-out to systems that exploit labor and resources from marginalized individuals that in turn benefit those higher up on the socio-economic food-chain.
Relative parallels are most obviously reflected in ‘Worryfree’s mantra, as it depends on some strain between a lower-level employee’s sense of identity and financial concerns; consequently, it functions on a smaller-scale as an indication that certain economic systems (capitalism) make it quite difficult - perhaps even impossible - for some people to thrive in their own time. This is illustrated by how much of Cash’s basic necessities (a place to live and reliable transportation, to name a few) are an intuitive push into situations that require space away from qualities of his own that should inspire strength or a sense of belonging so as to supersede what are implied as generational cycles of deprivation or hardship. Going further, it becomes logical to follow Cash’s disillusioned idolization of Mr. ____ as an acknowledgement of the lengths some people feel they must go to achieve success in the tiniest measure when faced with extrinsic forces that are biased or flow with preferential treatment.
If any such criticism can be made with tact, it could be argued that Riley is at times much too eager to let Cash off the hook. We are never made as viewers to perceive Cash as villainous or deliberately deleterious on his own, but it becomes easy to forget the extent in which he has been and could be complicit in a slew of unethical business practices connected to RegalView and its revealed associates. Moreover, his desire to make amends with the people he has previously betrayed and the projection of his decision-making after ‘𝑺𝑻𝑩𝒀’s climax appears directly related to the lunacy of Steve’s plans as opposed to some amount of integrity or genuine remorse. Don't get me wrong, as I wouldn't dare suggest that absurdity on its own is flawed as a narrative tool, but attempts could have been made to ground (𝒊𝒏𝒔𝒆𝒓𝒕 𝒓𝒊𝒅𝒊𝒄𝒖𝒍𝒐𝒖𝒔 𝒑𝒍𝒐𝒕 𝒑𝒐𝒊𝒏𝒕 𝒕𝒉𝒂𝒕 𝑰 𝒘𝒐𝒏’𝒕 𝒔𝒑𝒐𝒊𝒍, 𝒃𝒖𝒕 𝒏𝒐𝒃𝒐𝒅𝒚 𝒘𝒐𝒖𝒍𝒅 𝒈𝒖𝒆𝒔𝒔 𝒐𝒖𝒕𝒓𝒊𝒈𝒉𝒕) In a way that is still plausible within the immediately relevant realm of storytelling. Why not incorporate real-world examples of genetic modification that have been justified and produced favorable outcomes so as to make Steve’s logic the tiniest bit relatable? Why not complicate Cash's ability to knowingly disclose Steve’s master-plan to others using techniques that are legally binding in some hampering way? These things (and more) could have lended to the ambiguity teased by 𝑺𝑻𝑩𝒀’s final moments since Cash's ‘last stand’ could be perceived as a matter of revenge or double-dealing that spins out of control, but little is done to emphasize the way in which Cash is simultaneously responsible for and involuntarily pushed towards his own superfluous demise.
For all that could be said about ‘𝑺𝑻𝑩𝒀’’s immodestly mannered mania, its originality and ambitious approach outclasses other films that touch on wealth and stratification in an undeniably larger-than-life way. Unapologetically weird, its gumption is sure to bother some based on principle alone, but perhaps it's better to be bothered than to be blissfully unaware. More present than this, however, is a generally fair assessment of what it truly means to look a gift horse in the mouth (#IYKYK) and some fractured sense as to how the world looks to those whose choices are compromised by situations where a simple yay or neigh doesn't apply.
Top reviews from other countries
I laughed, I cried, and it made me think.
Also learned a lot about hoe telemarketing works.
The film itself is excellent, though others have probably already explained its merits better than I can. I do think it's one of those movies where the less you know going in, the better. An absolute must see if you like horror-comedies. Though I am not a horror fan and loved it