SORRY TO BOTHER YOU is an absurd, inventive new comedy that’s so playful and funny that its acidic satire of soul-crushing capitalism comes across a little more like an inspirational rallying cry than blind fury at a seemingly insurmountable wall of corporate greed and dehumanization. Though it’s that too.
If I was required by law to describe it in terms of movies that already exist, I’d say “low-wage OFFICE SPACE by way of Michel Gondry.” But fuck the law, because it feels like something very new, distinctive and of the moment, from the cast headed by Lakeith Stanfield and Tessa Thompson to the soundtrack to even the cool fonts and logos by children’s book illustrator J. Otto Seibold. Stanfield plays Cassius Green (yes, it’s a pun), who lives in his uncle (Terry Crews, STREET KINGS)’s garage until he finds his calling (oh shit, another pun) at a new telemarketing job. I mean, the place is a hellhole on the verge of a strike led by Squeeze (Steven Yeun, formerly of The Walking Dead), but he turns out to be really good at it after co-worker Langston (Danny Glover, PREDATOR 2) teaches him the secret of the “white voice.” It’s not mere code-switching, but a near supernatural channeling of a voice with no worries that he manifests by being dubbed by David Cross (ALVIN AND THE CHIPMUNKS). It’s a broad and hacky joke made almost profound by its layers of subtext and power to creep out his friends and loved ones. (read the rest of this shit…)
We had DIE HARD on a boat and 
June 26, 1998
Clooney had already become a superstar on ER and proven himself big-screen-worthy in FROM DUSK TILL DAWN, but it was Steven Soderbergh who taught him to cut down on his trademark head-bobbing and become a real movie star. Wearing a suit I thought I heard somewhere was inspired by Cary Grant’s from NORTH BY NORTHWEST, he manages to charm his poor bank teller victim enough that when he tells her to have a nice day as he’s leaving with the money she reflexively says “You too.”
June 26, 1998
What I’m trying to do here is establish why it’s a good thing that in 1998 BUFFALO ’66 seemed like a great movie. I mean, I haven’t entirely turned my back on it. It’s still interesting. It has many positive qualities. But I definitely question it more now.
It’s easy to see what was appealing in that moment. Star/director/co-writer/composer Vincent Gallo plays Billy Brown, a just-released convict who looks like he inspired half the dudes who were in American Apparel ads (I mean, look at that striped muscle shirt). With cinematographer Lance Acord (first feature for the music video d.p.) he shoots scuzzy locations that seem like the stale refuse of the ’60s and ’70s: cracked parking lots, a bowling alley, a motel, a tiny house decorated in Buffalo Bills memorabilia. Chic, magazine ad ugly. I’m actually kind of surprised it’s not in black and white, but the muted color palette is one of its most striking features. 
June 26, 1998
I think this new TOMB RAIDER is kinda good. You probly shouldn’t listen to me because I also kinda liked the new 
June 19,1998
June 19, 1998
Luckily there is another option. The Huns are invading and every family must provide a man or boy to fight in the army. The only male in her family is her dad Fa Zhou (Soon-Tek Oh, 
June 19, 1998
Before seing INCREDIBLES 2 and JURASSIC’S 5 I wanted to catch up with OCEAN’S 8. It’s that all star ensemble heist movie that came out in theaters a month ago. I know whatever conversation there was has already died off, but I wanted to see it.
