Hip-hop artist, music producer, teacher, and political activist and agitator Boots Riley has new talents to add to his resume: screenwriter and director. His electric film debut, Sorry to Bother You, announces a fresh and singular new voice in American cinema. The movie uses biting, politically charged satire to comment on a myriad of social justice concerns. Riley skewers issues like race, class, labor rights, toxic capitalism, and selling out with an outlandish and exhilarating premise that gets stranger with every passing minute. I can sum the movie up with one word: bonkers. The last time I used that word to describe a film I wrote about was over three years ago. The inventive science fiction (for lack of a better term) feel and unique sense of humor Riley employs in Sorry to Bother You makes it the first bonkers movie event since Mad Max: Fury Road.
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South Korean director Bong Joon-ho is a master at blending opposing tones (see 2016’s Snowpiercer if you doubt me). That’s exactly what he does in his newest film, Okja. Half broad, outrageous comedy and half heart-rending, stomach-turning drama, Okja is beautifully executed.
Setting the tone of a movie is a big part of the magic of cinema. So many people contribute to the production – from actors to set decorators, cinematographers to sound mixers – working together to create a living, breathing world that draws us in. The director is at the center of it all, acting as the conductor, bringing order to the chaos that could result from hundreds of people focusing solely on their own jobs. And Bong Joon-ho is an amazing conductor.