Boots Riley's SORRY to BOTHER YOU - Should Bother You with Armie Hammer, Tessa Thompson SEE IT!

Boots Riley (b Amer 1971) is a Renaissance Man; creative in numerous artistic venues.  Riley is a rapper, producer, screenwriter, filmmaker and political activist who aligns with Communist ideology. SORRY to BOTHER YOU is Riley's debut feature film and he successfully combines his immense talents into a unique art form that is an unremitting political powerhouse.  The film set in Oakland in a not too futuristic dystopian society.  It'ss deceptively convincing and hence deeply disturbing.  Cassius (Lakeith Stanfield) or "Cash" to most, is the hero of the film.  It begins with Cash & his artist girlfriend Detroit (a terrific Tessa Thompson) in the garage of his uncle's home.  Basically, he's freeloading off his uncle whom he verbally assails as the oppressor to the have nots in a hilarious banter when told he's 4 months behind on his rent.  The rent money is for his makeshift garage living quarters where the door inconveniently opens at inopportune in flagrante delicto moments.  Both names are references to Cassius Clay, a.k.a. Mohammad Ali and the motor city, a prime example of a major city fallen into a poverty-stricken, volatile urban decay.  Cash needs cash and he sets out to get a telemarketing job in a hilarious & pathetic scene.  He gets the job regardless/or because of his phony pandering.  Cash joins the lowly ranks of the exploited workers paid only commissions & deprived of human decencies.  The working class is stuck in an impoverished quagmire, lowly social strata kept under control by militant armed patrol.  Danny Glover in a minuscule role, advises Cash to use his "white voice." This is creepy but effective in making money.  The building where Cash works has an elevated social class for the "Power Callers."  When the poor proletariats assemble to unionize for fair wages, Cash bails for a promotion as a "Power Caller."  The pay is exorbitant in exchange for being a sellout.  He's now in the business of selling weapons and humans into slave labor.  Riley's ingenious script makes multiple piercing political statements about humanity.  While Riley's film is unique, it harkens to the brilliance of other masterpieces:  Orwell's "Animal Farm," Jordan Peele's GET OUT, Margaret Atwood's "The Heart Goes Last," "Breaking Bad" and the iconic scene on Pleasure Island from PINOCCHIO.   Steve Lift (Armie Hammer; the ultimate manipulative villian)  conjures a morph of Napolean from "Animal Farm" and Lucifer.  The biting parodies are plentiful in this ferocious film. To name but a few: Cash on a reality TV show submitting to a beating & swimming in shit, Cash rapping "Nigger Nigger," Detroit's performance art and the claymation movie within the movie that reveals Steve's diabolical therianthropic plan for the working man.  It's both cartoonish and gruesome.   The masses may not enjoy this film.  It's not meant to be likable but it deserves a Nobel.  This film makes people worry they'll never be worry free again!