Whereas filmmaker out February’s Berlin Film Festival aimed to avoid politics in promoting his work, sxsw Opening night kicked off with a film that used car chases, teleportation, stop-motion animated monsters, and a sprawling story about shoplifters to raise a big, glitzy middle finger in protest of a capitalist society that treats workers’ rights and self-expression like a luxury item.
With a dynamic cast that includes Keke Palmer, Naomi Ackie, Taylor Paige, Poppy Liu, Eiza Gonzalez, Will Poulter, Demi Moore, Don Cheadle, and LaKeith Stanfield, Riley delivers a sophomore effort that’s outrageous, provocative, and genuinely fun.
What is? i like boosters All about?
Credit: SXSW
Written and directed by Boots Riley, i like boosters Focuses on a trio of “boosters”, known as the Velvet Gang, who buy designer clothes from flashy stores and resell them at discounted prices. But each of these boosters has their own motivations for this risky version of entrepreneurship. For single-mom Sade (Eki), it’s all about money, whether it’s through boosting or a pyramid scheme called Friends Being Friendly. She is determined to give her children a better life, no matter what the cost.
Meanwhile, chipper Maria (Paige) sees her group as “fashion-forward philanthropists.” [sic]” who give back to their communities by making amazing gear affordable. (Yes, she knows philanthropy isn’t spelled with an “f” — but “branding,” though.) Then there’s fashionista Corvette (Palmer), who dreams of becoming a top designer like her idol Christy Smith (Moore). This cunt-bob executive owns a chain of stores that sell only one color of clothing per month, creating a rosy collection of violently colored shops. Give the production design quickly. i like boosters A cartoonish impurity.
Angered by the boosters’ attack on her shops, Smith declares war on the shopkeepers, whom she calls “low class town bitches” – all due respect to the town bitch. From there, the Velvet Gang steps up their game with the help of some new allies who are less interested in reselling designer goods than starting a workers’ rights movement against Smith’s sweatshop industry.
Along the way, they’ll not only create a dizzying array of eye-popping outfits and fabulous wigs, but also create an ultra sci-fi device that can disintegrate, transform, or teleport anything from clothing to people with a slapstick splash of shimmering goo. And without spoilers, I can say that if you thought about the horse people in the climax Sorry to bother you While it was a strange experience, you’ll be pleased by how supporting players like Don Cheadle, Jermaine Fowler and Jason Ritter come into play in the chaotic climax.
keke palmer is a shining star i like boosters.
Don’t rotate it. Palmer’s career has been filled with stellar performances that showcase his irresistible charisma and dynamic screen presence. But often in movies, she’s the girlfriend (good fortune, pick up) or half of a double act (No, one of those days). Whereas i like boosters Velvet is about the gang, there’s no doubt that Corvette is its hero, and Palmer is its star.
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The relay gives space to this dynamo to run. From the opening frames, cinematographer Natasha Breyer follows Corvette as she dances cool and confidently on the dance floor. Breyer frames her closely for scenes of longing, such as when Corvette crosses paths with a mysterious guy (Stanfield) who is so hot that her POV from Corvette’s perspective plays into the close-up frame. It’s as if we can see a short-circuit in her brain as she takes in everything from his prince-like curls hanging over his face, to his sexy, smoky eyeliner, to his husky voice and smoldering expression that make this man a dangerous distraction to her booster mission.
But the comedy resides in the wide shot. So in scenes of silly physical stunts – such as when the Corvette tries to get out of Christy’s penthouse, where the floor is at a 45-degree angle – Palmer is committed to doing a bit of full-body stunting. Whether she’s falling flat on her face, running like a cartoon roadrunner, or escaping an adventure with a velvet tracksuit full of stolen goodies that makes her look like a pink Stay Puft marshmallow man, she’s delivering comedy on Charlie Chaplin and Buster Keaton levels, getting down to physical business without even blinking at the camera.
From there, costume designer Shirley Kurata builds Corvette’s ambition of becoming a fashion designer through each look. Palmer is alternately clad in turquoise vinyl, Harajuku streetwear, ’90s club kid gear and highlighter yellow menswear. Some actors might feel overwhelmed by the sheer volume of the look, but Palmer pulls it off with ease, conveying Corvette passion every step of the way.
And it may go without saying, but no one hits punchlines like Palmer. That’s not to laugh at Riley’s take on his wacky dialogue. The one-line song in the final sequence of the film caused thunderous laughter, which turned into cheers and scattered applause. It’s thrilling to see a film give Palmer such a well-earned showcase — especially one that pits her onscreen against Moore, who has her own strange showcase. Substance Became a surprise awards season contender. can i like boosters Is there a similar increase? I would like to live in that world.
i like boosters It’s full of laughs, twists, and a great supporting cast.
Palmer drives this wild ride, but every actor around him is completely drawn to Riley’s radical vision. Eki has been in a lot of trouble lately, playing everything like an honest cop (thursday murder club) to a strange soldier (mickey 17) to a caring best friend (Sorry baby) To a party girl seeking revenge (blink twice). Here, she’s the tough love in the Velvet Gang, bringing an intensity and determination that contrasts Palmer’s dreaminess and Page’s comically consistent daze. Watching Paige playfully pluck plush nipples on a big puffy nude suit while the rest of the crew has a heated argument is a lesson in low-key comedic genius.
Dynamic Poppy Liu joins the fun with an additional quest filled with color, real-world horror and high-energy action. Eiza Gonzalez emerges and shines as a union-minded shop girl, while Will Poulter is a pitch-perfect bastard as her posh, ruthless manager. Stanfield comes off as a charming charmer, but he’s at his best when the subplot goes completely diabolical. Then there’s Moore, who paints a wildly ridiculous portrait of American wealth and power.
Moore speaks the monologue with such conviction about art rather than commerce that you might be tempted to believe Christy Smith’s sales pitch. But Moore also lets out shrieks that send shivers down the spines. And several scenes in her absurdly skewed penthouse (perhaps inspired by real ultra-expensive high-rise buildings that are not level) highlight her fashion execution as ridiculous.
There are equally sharp visual critiques of the politics of the pay-gap, such as Corvette and Sade preparing for their extremely short lunch breaks with their feet on the starter’s block, literally ready to race for a living. And with each over-the-top visual gag, Riley manages to surprise his audience. He juxtaposes our world with its worst and best parts – just like a MacGuffin in this movie. And through it, he urges us to not only consider the absurdities of our society, but also to consider how we can dream something better and bolder.
i like boosters Plays like a fever dream. Its narrative wanders off on tangents, involving sensational set pieces and sub-plots buried beneath big ideas. It’s undeniably messy, involving new characters, strange plots, and a surprising avalanche of uncontrolled imagination. But I wouldn’t have it any other way.
Riley isn’t just rejecting the status quo of American capitalism with his films. He is rejecting the tidy boxes that filmmakers are urged to keep in order to make their stories more marketable, be they boxes of form or genre. Like the fashion in the film, Riley unapologetically mixes whatever fits his vision. By delivering something so messy and wonderful, Riley makes a statement about the glory found outside the box. And make no mistake: i like boosters Is glorious.
i like boosters Reviewed at SXSW. The film will be released in theaters on May 22.
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