Ron Stallworth, an African American police officer from Colorado Springs, CO, successfully manages to infiltrate the local Ku Klux Klan branch with the help of a Jewish surrogate who eventually becomes its leader. Based on actual events.
John David Washington,
A traumatized veteran, unafraid of violence, tracks down missing girls for a living. When a job spins out of control, Joe's nightmares overtake him as a conspiracy is uncovered leading to what may be his death trip or his awakening.
The enchanted lives of a couple in a secluded forest are brutally shattered by a nightmarish hippie cult and their demon-biker henchmen, propelling a man into a spiraling, surreal rampage of vengeance.
In an alternate version of Oakland, Cassius Green gets a telemarketing job and finds the commission paid job a dispiriting struggle as a black man selling to predominately white people over the phone. That changes when a veteran advises him to use his "white voice," and the attitude behind it to make himself more appealing to customers. With a bizarrely high-pitched accent, Cassius becomes a success even as his colleagues form a union to improve their miserable jobs. Regardless, Cassius finds himself promoted a "Power Caller" selling the most morally abhorrent but lucrative products and services as his connection to his girlfriend and colleagues fades away. However, Cassius' conscience arises anew as he finds himself in the midst of his boss' bizarre world of condescending bigoted decadence and his sinister plans to create the perfect subservient work force with Cassius' help.Written by
Kenneth Chisholm (email@example.com)
Director Boots Riley wanted to credit the claymation film within the film to Michel Gondry as a tribute to the director. Because the film was a parody he didn't legally have to clear the use of Gondry's name, but decided to reach out to him anyway to make sure he was comfortable with the homage. Gondry wanted stipulations put on the use of his name and after Riley agreed he receive a message from Gondry's agents denying him permission to use his name anyway. Riley then changed the name of the director to Michel Dongry as an insult to express his frustration with him and announced he would continue insulting him in future movies until Gondry responded. See more »
I walked into this movie at an advance screening expecting something unique, but nothing could have prepared me for the sheer brilliance of this satirical masterwork. Hilarious from beginning to end while also subversive, this film joins some of the finest satires of its generation--from "South Park" to some of the best episodes of "Saturday Night Live" to "Wild Tales."
The story follows Cassius, an African-American telemarketer in Oakland. When told to use his "white voice" on the job while making calls, he quickly rises through the ranks of his profession--and ends up getting a hefty promotion. All of a sudden, things start to spiral out of control. I definitely won't give anything else away, as doing so would spoil what clearly must be experienced for oneself. The film's script is incredibly strong and is consistently hilarious. I laughed more while watching this film than any other movie in recent memory. Its dialogue is not only humorous, but incredibly frank and on-the-nose in its brutal honesty. The film's social consciousness and commentary intersect in ways that are thoughtful, snappy, and deeply rooted in (often unfortunately) a sense of genuine realism. Yet the film's image of the world is not equal to our society with microscopic precision, as its humor often tends to look at current societal issues with the mirror of a macabre fun-house.
Performances in the film are outstanding throughout, and the film is incredibly engaging throughout its run time. Free of pacing issues, it moves at a fast pace and twists and turns so unusually that one will never know what could happen next. This erratic nature is truly part of the film's genius. If such a style of narrative filmmaking was attempted to be used as a technique in almost any other film, it would fail miserably, but Boots Riley was able to commendably stay one step ahead of audiences while making them laugh profusely and question why and how our society may be in deep-seated decline. Also noteworthy is the film's soundtrack, which is a superb mix of rap and pop. The movie can often be strange, but viewers will be all the more thankful for its genuine audaciousness upon the film's conclusion.
Riley's ambitious filmmaking has a variety of possible influences (Spike Lee, Jordan Peele, Alejandro Inarritu, Charles Kaufman) yet feels wholly original--and genuinely, howlingly funny and socially relevant despite being so unconventional--from beginning to end. Very highly recommended. 10/10
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