Directing: B
Acting: B
Writing: B-
Cinematography: B
Editing: C+

It's hard to decide what to make of Sorry to Bother You. This is a movie with something clear to say, although exploring the corrupting influence of money and power is hardly a new idea. What's very new here is the way first-time writer-director Boots Riley does it. To say that very late in the story, things take a hard turn for the fucking weird -- that's an understatement.

I wanted to love this movie, I really did, but I just couldn't. Most of it is technical issues. It so lacks polish and refinement that it feels much like a rough draft turned in as the final product.

Plenty of people are loving this movie, so I still won't spoil any of the major twists. I went in ready to be all in, and progressively lost my patience for it. Part of the concept is that when Cassius Green (Atlanta's Lakeith Stanfield) gets a job at a telemarketing company, he's advised by a coworker, Langston (Danny Glover, great to see), that he'll only make sales if he talks in his "white voice." When Langston demonstrates, we hear the voice of Steve Buscemi. When Cassius finds his "white voice," it's David Cross. When Cassius is promoted to "Power Caller" upstairs, his unnamed new boss (Omari Hardwick) is voiced by Patton Oswalt.

Part of the joke, of course, is that these three white actors couldn't be more white, at at least the sounds of their voices couldn't. Oswalt in particular is playing up how this is "his whitest moment" as he gleefully promotes the film. It's very much like voice talent being hired for an animated film, except here it's live action and the onscreen actors appear to be lip syncing. And honestly, this is executed with mixed results, very few of them including finesse. It's amusing, and the satirical point is clear, but it's also distracting. It nearly always seems as though they could have used a bit more rehearsing, as the lip movements barely succeed at matching. To be fair, I guess, that is likely far more the fault of the voice talent than the onscreen actors, given the likelihood that instead of lip syncing per se, the scenes were shot first and then the voices looped in later. But it's still up to the director to make sure it looks right.

As such, this entire production feels rushed. And that's not to say I have no issues with the script, either: A money-hungry Cassius being called "Cash" for short is just one of many things in this movie that are a bit too on the nose. That twist at the end is a "workhorse" metaphor just as obvious as it is bizarre.

The actors nearly across the board have undeniable charisma, at least, and Lakeith Stanfield gives Cassius a lot more dimension than the script does. He has great chemistry with Tessa Thompson, who plays his girlfriend. Armie Hammer is perfectly cast as the CEO of WorryFree, a company that gives workers "contracts for life." If you blink you might miss Forest Whitaker in a rather surprising context.

The thing is, I can understand someone loving this movie. I can even see credible arguments that I just didn't "get it." (Although I think I pretty much do.) Maybe everything I criticize here was done by Boots Riley pointedly and for a reason. Or maybe it was they were crunched for time and budget. This is Riley's debut feature film, though, and it feels very much like it -- the kind of film you might give a backhanded compliment by saying it's good for a debut. Boots Riley has clear talent, and a clear eye for talent. If nothing else, Sorry to Bother You certainly leaves me looking forward to what he might do next, with more time and a bigger budget that hopefully is the byproduct of this movie's success.

I'll give credit to the costume designer, at least.

I'll give credit to the costume designer, at least.

Overall: B-