Have you ever been in the rich part of town, walked into an expensive clothing store (that you know you can’t afford), picked up a brand that only the elite — or people willing to spend their entire paycheck — can afford, and thought to yourself, I should just put this in my bag and walk smooth on up out of here? Me neither. The risk isn’t worth the reward. But if you’re living in an abandoned chicken restaurant somewhere in the Bay Area with friends who are also at a dead end, I kind of see your point.
Boots Riley, the director of “Sorry to Bother You,” is back with another story that definitely leaves an impression. Keke Palmer (“Nope,” “Good Fortune”) stars as Corvette, the leader of a band of thieves known as the Velvet Gang, who are notorious for stealing clothes from metro designer stores and reselling them. The stores are owned by Christie Smith, portrayed by Demi Moore (“The Substance”).
The Little Guy and Corporate America
But Corvette isn’t just a shoplifter or hustler — she also aspires to become a fashion designer herself, even admiring the woman whose clothes she steals. Is this deep-seated envy disguised as worship? Why can you have it when I can’t? Much of her motivation in the first act is, of course, money, at least until something better comes along. Then her pursuit becomes a dream deferred, quickly giving way to spite. The irony becomes one of the film’s strongest ideas as the feud escalates after Christie is discovered to have stolen one of Corvette’s designs.
Much like his last film, Riley excels at telling stories about the little guy trapped under the thumb of corporate America and capitalism. But with this film, the visuals are the true masterpiece. The vibrant colors create a striking visual impact, while the bold patterns are consistently captivating. Two of the film’s most recurring colors are green, symbolizing greed and envy, and yellow, representing deception. And the fashion — I’m sure the wardrobe department was working overtime assembling these loud, wildly different pieces together. Their boldness and brightness reminded me of Cross Colours, the iconic fashion brand from the ’90s.
The Story Suffers to the Film’s ‘Just Go With It’ Attitude
The film may be flashy, and from its description the plot seems straightforward, but calling this a wild ride would be an understatement. From sexual deviants to mutilated lackeys, chaos is alive and well throughout the movie. Then, with a little gift from friends across the pond who share the gang’s objectives, the film cranks things up from an 8 to a 15. It introduces something that defies all logic and physics, operating entirely on a “just go with it” mentality for the sake of the story.
I’m not even sure how someone’s mind can venture into these dark places — or perform the mental gymnastics necessary to create this level of entertainment — but I found it somewhat enjoyable. Shock-and-awe antics can only carry a film so far, especially when the intended message starts drifting into the background. The film has a compelling discourse on mass production and the exploitation of workers, but it’s often overshadowed by the spectacle of watching a being deconstructed down to the cellular level.
