I LOVE BOOSTERS is a movie with ideas (arguably too many), style (in abundance), attitude (well earned), and an excess of exuberance. It works at a pace and a rhythm that can be challenging, could be annoying, could be hard to lock in on if you were distracted or in the wrong mood. If somebody hated it in the way I hated CRANK and DOMINO back in the day I would get it, though I think I would’ve liked it even then.
For a while it seems like every scene will be a conversation between characters ignoring an insane thing that’s going on that also requires your attention. An early example is the two main characters having a serious talk about their needs in life while shoplifting what I would consider to be an extremely conspicuous amount of clothes. They stuff their shirts so much they look like Klumps, but they continue their talk as they waddle across the parking lot to their getaway van, with little sense of urgency.
This is the second film from Boots Riley (SORRY TO BOTHER YOU), communist rapper turned writer/director who dresses like Paddington Bear. It’s a goofy maximalist comedy overloaded with genre tangents, convoluted sci-fi concepts, bits of stop motion and miniature models, not to mention acidic satire of capitalist exploitation, so it occurs to me now to call it Marxist Savage Steve Holland. But the truth is that what it kept reminding me of was Pee-wee’s Playhouse, Liquid Television, Alex Winter’s FREAKED – those rare pop culture miracles from a bygone era when the occasional gatekeeper saw the wisdom of giving corporate money and platforms to passionate communities of artists to take their swings at outlandish, quirky, wonderful things they really believed in. (read the rest of this shit…)
Man, a Hollywood remake of 
BEVERLY HILLS COP: AXEL F is a perfectly entertaining, perfectly obvious long-awaited nostalgia sequel, perfect for streaming once and forgetting. Eddie Murphy (
ZOLA tells a wild road trip story that, I feel, doesn’t amount to much, but it’s worth it for the ride, and for the telling. The big hook is that it’s based on the 2015 “now iconic series of viral, uproarious tweets” (source: A24films.com), something that’s not only emphasized in the marketing, but noted on screen at the beginning. The official onscreen title is @zola (which is actually the Twitter handle of some wedding company, not author/protagonist A’Ziah “Zola” King), the main characters are often looking at their phones and monotonously speaking aloud their texts to each other, and there’s a notification sound heard frequently throughout the movie – I was never really sure if it was meant to be diegetic or not. Admittedly all that sounds stupid, but when it comes down to it this is really just “based on a true story.” Not even entirely based on a true story told in an unusual medium, because a Rolling Stone article about the whole affair…
