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Sorry to Bother You (2018)

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2:31 | Trailer
In an alternate present-day version of Oakland, telemarketer Cassius Green discovers a magical key to professional success, propelling him into a universe of greed.

Director:

Boots Riley

Writer:

Boots Riley
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Popularity
237 ( 44)

'Sorry to Bother You,' But Let’s Talk About Awful Jobs

Lakeith Stanfield and the Sorry to Bother You crew reveal the highs and lows of following your dreams, the awkwardness of sex scenes, and their most soul-crushing jobs.

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12 wins & 43 nominations. See more awards »

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Cast

Cast overview, first billed only:
Lakeith Stanfield ... Cassius Green
Tessa Thompson ... Detroit
Jermaine Fowler ... Salvador
Omari Hardwick ... Mr. _______
Terry Crews ... Sergio
Kate Berlant Kate Berlant ... Diana DeBauchery
Michael X. Sommers ... Johnny
Danny Glover ... Langston
Steven Yeun ... Squeeze
Armie Hammer ... Steve Lift
Robert Longstreet ... Anderson
David Cross ... Cassius's White Voice (voice)
Patton Oswalt ... Mr. _______'s White Voice (voice)
Lily James ... Detroit's White British Voice (voice)
Forest Whitaker ... First Equisapien / Demarius
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Storyline

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 (kchishol@rogers.com)

Plot Summary | Plot Synopsis

Genres:

Comedy | Fantasy | Sci-Fi

Motion Picture Rating (MPAA)

Rated R for pervasive language, some strong sexual content, graphic nudity, and drug use | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official Facebook | Official site

Country:

USA

Language:

English

Release Date:

13 July 2018 (USA) See more »

Also Known As:

Простите за беспокойство See more »

Filming Locations:

Oakland, California, USA See more »

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Box Office

Opening Weekend USA:

$727,266, 8 July 2018, Limited Release

Gross USA:

$17,493,096, 1 November 2018
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

The voice of the elevator is Rosario Dawson. As seen on The IMDb Show (2017). See more »

Quotes

Cassius Green: I'm doing something I'm really good at.
See more »


Soundtracks

Wash Me Up
Written by Boots Riley and Damion Gallegos
Performed by The Coup
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User Reviews

 
Horse play with a message
12 July 2018 | by ferguson-6See all my reviews

Greetings again from the darkness. All movie watchers know that the first rule of Fight Club is 'Don't talk about Fight Club'. And now we know that the first rule of Telemarketing is STTS: Stick to the script. The similarities between the two movies may be few, but hip-hop artist (The Coup) turned first time filmmaker Boots Riley comes out swinging in this offbeat, quite clever satire on race, corporate culture, economic factions, social division, and politics. It makes for a nice companion piece to last year's critical darling, GET OUT.

LaKeith Stanfield (GET OUT, SHORT TERM 12) stars as Cassius "Cash" Green, a low key good dude living with his girlfriend Detroit (Tessa Thompson) in his uncle's (Terry Crews) garage. Four months behind on rent, Cash wants to do something important with his life, he just doesn't know how ... and his current financial circumstances aren't helping. You may call him a dreamer, but he's not the only one (a Lennon reference seems fitting for this film).

Cash's best buddy Salvador (Jermaine Fowler) gets him an interview at a dingy basement telemarketing firm - an interview that clues us in on the type of humor we are in for. Thanks to advice from one of the veteran telemarketers (Danny Glover), Cash utilizes his "white voice" and immediately has remarkable success ... and we get some pretty funny sales call visuals to correspond to the obvious capitalism statement.

Ultimately his sales success gets him promoted to the "power caller" level and his own mentor, accessible only through the gold elevator. This leads to conflict with his friends, his girlfriend and his own moral standards. See, the basement dwellers are being led by Squeeze (Steven Yeun) in an effort to unionize for a living wage and tolerable work environment. As Cash continues to pursue ... well, uh ... cash ... his friends carry out their form of civil disobedience. This leads to police brutality, examples of corporate greed, and the downside to individual ambition.

Armie Hammer plays Steve Lift, the egomaniacal corporate d-bag who takes Cash under his wing - for the purpose of making more money. The sales pitch turns to "Worry Free", a lifestyle being marketed through brain-washing advertisements for guaranteed food and shelter. One need only commit to a lifetime of corporate servitude. If that sounds like slavery, well, that's the point Riley is making. It's not so far off from the life many of us lead today, but of course this is presented in satirical fashion, so we are manipulated into laughing at ourselves and our society. There is even a popular reality TV show titled "I Got the S**T Kicked Out of Me", and folks can't get enough!

The story kind of flies off the rails in the second half with some wacko-science fiction genetic engineering. The equisapiens have to be seen, as no written description will do. Even this segment has purpose. It speaks to how individuals and corporations can seize power and head in a questionable direction - all in the name of progress, efficiency and stock price.

Stanfield excels in one of his first lead roles, and Ms. Thompson is her usual shining star. Kate Berlant (as the humorously named Diana DeBauchery) has a couple of excellent scenes, and David Cross and Patton Oswalt are terrific as the (extremely) white voices of Cash and Mr. _________ (played by Omari Hardwick).

Filmmaker Riley offers up not a call to arms, but rather a call to wake up! Many of the decisions here mirror real life. Personal success can cost us friends, and political and professional choices may challenge our inherent morals (here, bordering on Faustian). The film is both provocative and funny, though a bit messy at times. You'll laugh while you think, or laugh after you think, or think after you laugh ... somehow you'll do both. OFFICE SPACE and Terry Gilliam's BRAZIL may be the closest comparisons; just be cautious if Boots Riley ever invites you to join in some horse play.


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