There’s a moment early in the third act of Boots Riley’s “Sorry To Bother You” when the writer-director crosses a line.
It’s not the line, but only because there are several borders to increasingly absurd territory over the film’s runtime. It’s not completely non-sequitor, because anything less might stall the plot’s exponentially batshit crazy momentum.
And you can’t quite argue against it, because it’s a plot development that might hue quite close to normalcy—at least that’s what we come to believe after spending some time in Riley’s head. Continue reading →