Debuting writer/director Boots Riley* overreaches for Swiftian satire (don’t worry, no babies eaten, more GLENGARRY GLEN ROSS/’92 meets THE OFFICE [Stateside version], but with a hipster's vibe & heavy minority casting) as a debt-ridden LaKeith Stanfield (very winning) signs up for a commission-only position as a telemarketer. But Hellish office conditions lead to labor organization & work stoppage just as his natural abilities are being recognized with a promotion. What’s an upstanding/union sympathizing employee to do? Especially when his dream job means luring desperate worker-bees to the WorryFree lifestyle, a camouflaged Slave Market, and none too subtle metamorphoses from human to horseflesh. Yikes! Is it TO SERVE MAN from THE TWILIGHT ZONE or Pinocchio tricked into a stay on Pleasure Island (Hee-Haw!!) . . . make that Dr. Moreau’s ISLAND OF LOST SOULS? (See various iterations here: https://maksquibs.blogspot.com/search?q=ISLAND+OF+LOST+SOULS) But in spite of a great cast and clever structural dodges to manage on a tight budget, the concept shrinks rather than expands with every metaphysical addition. And much of the silliness that ought to pay off doesn’t. The idea of ‘talking white’ as a path to success might work if played straight, but here it’s nothing but a silly voice. Richard Pryor shows just what’s missing with his immortal ‘white dude’s’ voice saying ‘Fuckin’ A.’
SCREWY THOUGHT OF THE DAY: *Considering its modest budget, SORRY must have at least earned out, but Riley’s had no bites for another feature in spite of strong reviews (frankly stronger than deserved) and comparisons to GET OUT’s writer/director Jordan Peele.
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