Sorry to Bother You

Duncan Gray

A sign of the times when surrealism has to try this hard to be freaky—even freakiness demands finesse, and its unapologetic zeitgeist stab is a gift and a curse. This is most valuable as an authentic expression of the Bay Area, where freedom is also a gift/curse, and where Silicon Valley fights post-60s radicalism in a plot that makes the ramblings of a stranger outside a BART station signify with righteous paranoia.

chanandre

[San Francisco's Alamo Drafthouse]*US of A*|Boots Riley in attendance served us a shot of stories surrounding its troubled & lengthy production] "Don't do the thing./ What thing?/ The thing where you fuck it all up". Feel as sad and wrecked, surprised & mesmerized, as I did after Annihilation. Who said "Get Out' on acid" wasn't wrong. I'd go a step further (but also a step aside/to the side) - it's a bit more than ▽

HKFanatic

What a treat to see contemporary Oakland captured on film, from the sleek buildings of downtown to the roar of the BART train passing overhead. As for the movie itself—I never felt like the characters were properly fleshed out, which left me at a remove from the story. But that "rap scene" at Armie Hammer's party is something few mainstream American films are these days: provocative, unsettling, and audacious.

Rafael Zen

this is really entertaining - the melancholic vibe goes along well with tepid distopias about class counciousness : : i can see why it appeared in a lot of "2018's best" - it's an unpretentious comedy that even when sticking to the romantic-comedy scheme tries to uplift the audience with a strike-for-dummies routine : : it's funny & it's also clever (although harmless)

Wee Hunk

Often social satire is laugh on the inside funny. You think, "How clever." This is laugh on the outside funny. It's absolutely crazy unpredictable. Lakeith is so good on Atlanta, so it's great to see him branch out.

Not A Sexy Vampire

What starts out as Atlanta: The Movie eventually becomes something more horrific than Get Out. I'm not entirely sure that transition works exactly but it's hard to deny the film's strange, dreamy, nightmarish power. Stanfield is wonderful, Thompson is style goals and Yuen plays a slightly less psychotic version of his Burning character. At its best when it's a savage satire of white people (that rap scene!).

Christopher M. Jones

I wish this movie had as many narrative jukes as stylistic ones--for all its weirdness, the plot and characters are kind of rote--but it's great to have an honest, modern film about what it's like to be broke

Carlos Filipe Freitas

Even if the deadpan humor doesn’t always triumph, there is some mordant social commentary expressed with a satirical posture, which sort of replaces it. Stanfield is a wonderful revelation, a crucial element for the film’s pulsation.