Review: SORRY TO BOTHER YOU But This Film Is Brilliant

Boots Riley’s Sorry To Bother You is a brilliantly twisted and bombastic yet engrossing dive into the subject of race in America.

The magic of Riley’s writing/directorial debut is he doesn’t seek to retell the struggle of minorities fighting to gain acceptance in America but wants the audience members to experience it. Sorry To Bother You magically whisks everyone from the friendly confines of your local theater into an experience most will find unrelatable.

Most of us don’t experience the lingering glares or second-guessing of our intentions. Riley has provided the world with a lens through which we can experience those very things. He isn’t attempting to solve all of the world’s issues, but by providing perspective to the problem, it can only foster discussion.

The narrative centers around a young black man named Cassius Green (Lakeith Stanfield) struggle to make it a world which is far from accommodating. His girlfriend, Detroit (Tessa Thompson) is incredibly supportive even though he lives in his uncle Sergio’s (Terry Crews) garage. While Detroit does odd jobs to make money, Green seems to be drifting through life until Sergio threatens him with eviction due to back rent. Out of options, Green gets a job at a company called Regal View. The only instructions he’s given at this telemarketing job is to STTS (Stick To The Script). After one spectacular failure after the next, his older colleague at work Langston (Danny Glover) tells him he needs to put on a white voice to make these sales. After some hesitation, Green does it and begins to rake in mountains of cash. However, as his success starts to grow, Cassius has to decide if wealth is worth compromising who you are.

Sorry To Bother You is exquisitely structured with a purposeful narrative unfolding in a disturbing reality. Riley’s bold choices show the same level confidence we saw from Jordan Peele in Get Out. Every element of this film serves a higher purpose. Blink, and you’ll likely miss an essential part of Riley’s tale. This film is Riley’s opus, and each element is a note deftly woven into a symphony reflective of the turmoil ravaging minorities in America.

(l to r.) Jermaine Fowler as Salvador, Steven Yuen as Squeeze and Lakeith Stanfield as Cassius Green star in Boots Riley’s SORRY TO BOTHER YOU, an Annapurna Pictures release.

The pacing in Sorry To Bother You is quite erratic and reflective of where they are in their story. Jason Kisvarday’s production design was creative and appealing visually. Loved how they smoothly handled transitions as Cassius’s life improved due to his job. The use of light in those scenes also helped convey the changes which were occurring. Dierdra Elizabeth Govan’s costume designs were bright, bold, and in some instances full of symbolism. Detroit’s earrings were luminous and always contained a message for us in the theater. Cinematographer Doug Emmett was able to extrapolate from Riley’s words capturing stirring images of injustice, indifference, and assimilation in the film. Tune-Yards and The Coup provide the perfect musical accompaniment to this tale.

The theme of losing who your identity is front and center in this film. Cassius and Detroit start the film pretty comfortable with who they are. As the film unfolds, each character (Cassius mostly) finds themselves entertaining the idea of giving into societal wants to advance. Detroit only wrestles with this briefly when she puts on a fake British accent to impress her fellow lovers of art. Thompson’s character ultimately realizes this is wrong and never compromises herself again. Cassius isn’t mentally strong like Detroit. He’s easily seduced by status and wealth. What does it matter if he puts on a fake “white” voice while on the phone? That little compromise starts him down a transformative path which strips him little by little of who he is and Cassius’s rich heritage. Even when Stanfield’s character realizes what’s occurring behind the scenes at work, this warped version of society is preoccupied with mindless television and slanted news reports.

Stanfield and Thompson are equally remarkable on screen. Stanfield’s Cassius is a sympathetic figure which reflects a more significant problem society has yet to address. Thompson’s Detroit is strong but still has the same insecurities African American Women deal with. The supporting cast is undoubtedly stellar and brought out the best in our two lead actors.

Overall, Sorry To Bother You is a mind-blowing experience which aims to open a dialogue about equality. Riley’s film is a mirror reflection of how warped our world has become in hopes of opening our eyes to what could be. He doesn’t offer answers because those have to come from us, but first, we have to start paying attention. Hopefully, this movie helps with that very thing.

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Why You Should Catch Up on OUTCAST in Time for the Season 2 Debut July 20th

Joshua Versalle

July 11, 2018

If you didn’t watch the fantastic first season of Outcast, there’s still time to rectify things. It’s available in solid (DVD) form and digitally, through Cinemax. The second season starts on July 20th, which gives you plenty of time to catch up on the ten-episode first season.

Why, you may be asking yourself, should I watch Outcast? Well, we already warned you it’s the best show you’re not watching. If that didn’t convince you, how about the creative team behind it? Robert Kirkman (who also co-created another comic/show with which you may be familiar) and Chris Black (Mad Men, Reaper, Star Trek: Enterprise) have brought you some of the most acclaimed and most beloved television shows in recent history.

But maybe you’re not interested in accolades, maybe you want something more concrete. Well, that’s fair, and I can tell you personally, Outcast is really fucking good. The series is scary (I’m still haunted by the opening scene of the pilot), imaginative, and compelling. It mixes horror, the supernatural, family drama, and small-town life in an apocalyptic cloud of hope and dread. If you’re a fan of The Walking Dead, Preacher, or Jessica Jones, then Outcast is for you.

Patrick Fugit stars as Kyle Barnes, a young man haunted by his past and plagued by demons. Isolated by the darkness that surrounds him, Kyle must work with his sister Megan (Wrenn Schmidt), the Reverend John Anderson (Philip Glenister), and Police Chief Giles (the late Reg E. Cathey) in order to cut through the mystery of his past. Standing in his way is Sidney (eerily portrayed by Brent Spiner), a stranger who appears in the small town of Rome, WV like a storm to a parched field, but will he replenish the crops or set the whole place ablaze with lightning?

You can check out our season two interview with Robert Kirkman and Chris Black here.

From Cinemax:

Plagued by demons since childhood, Kyle is on a journey to find answers – but what he uncovers could mean the end of life as we know it.

The suspense-horror series OUTCAST returns for its ten-episode second season FRIDAY, JULY 20 (10:00-11:00 p.m. ET/PT), exclusively on CINEMAX. Continuing to probe the mystery of what lies behind the town of Rome’s supernatural manifestations, and why they are drawn to Kyle, the show explores how people cope with extreme circumstances while protecting the ones they love. OUTCAST is created and executive produced by Robert Kirkman (“The Walking Dead”) and based on the Skybound/Image comic title by creator Robert Kirkman and artist Paul Azaceta.

Patrick Fugit (“Gone Girl,” HBO’s “Cinema Verité”) stars as Kyle Barnes, a young man who has been plagued by demonic possession all his life. With the help of Reverend Anderson, played by Philip Glenister (“Kingdom of Heaven”), a preacher who believes he is a soldier in God’s holy war against the forces of evil, Kyle tries to protect those he holds most dear, now that the otherworldly threats prove greater in scope and number than anticipated. His struggle will grow into a fight for all of his hometown, as he discovers the haunting secrets of his own past.

Other cast members in the second season include: Wrenn Schmidt (“The Looming Tower,” HBO’s “Boardwalk Empire”) as Kyle’s adopted sister, Megan Holter, a child psychologist who makes it her mission to fix the people around her; Reg E. Cathey (HBO’s “The Wire”) as Chief Giles, Rome’s chief of police, who has seen enough to know there’s some truth to his friend Rev. Anderson’s assertions about demons; Kate Lyn Sheil (“House of Cards,” HBO’s “High Maintenance”) as Kyle’s former wife, Allison Barnes, who has lingering doubts about what happened in their marriage; Julia Crockett (“Law & Order: Criminal Intent”) as Kyle’s mother, Sarah Barnes, whose apparent mental illness tainted his childhood; David Denman (“13 Hours”) as Megan’s husband, Mark Holter, a by-the-book small-town cop whose temper can get him in trouble; and Brent Spiner (“Star Trek: The Next Generation”) as Sidney, whose dapper appearance and smiling demeanor hide malevolence.

The first season of OUTCAST was hailed as a “suspense-laden, psychological examination of inner shadows” by Variety, which praised Patrick Fugit’s “poignant portrayal.”

OUTCAST is based on the Skybound/Image comic title by creator Robert Kirkman and artist Paul Azaceta. The series is produced by FOX International Studios for CINEMAX; created and executive produced by Robert Kirkman; executive produced by showrunner Chris Black, David Alpert, Sharon Tal Yguado and Sue Naegle.

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New ROBOCOP film now in Production

Kieran Freemantle

July 11, 2018

Robocop is one of the beloved films from the 1980s, an entertaining genre film with plenty of humor, satire and social commentary. There have been two sequels, two TV shows and a reboot in 2014. Now Deadline reports that the series is going back to its routes and South African director Neill Blomkamp has been hired to direct.

The new Robocop film is to be a sequel to the original film, ignoring all other films in the series. It is going to be based on a screenplay by Edward Neumeier and Michael Miner, the writers of the original film. The screenplay was originally intended to be a sequel back when Robocop 2 was being developed but fell through because of a lack of interest from original director Paul Verhoeven. Neumier and Miner are set to be executive producers and up-and-coming screenwriter Justin Rhodes has been hired to do rewrites.

Director Neill Blomkamp on the set of TriStar Pictures’ ELYSIUM.

Blomkamp broke on the scene back in 2009 with his surprise hit District 9 and he is a perfect fit for the series. Blomkamp was a fan of the original film and all his films have been sci-fi action films with social commentary and humor. His most recent film, Chappie, was pretty much South African Robocop. He would be able to provide the action, special effects and political commentary expected from a Robocop film.

There are a couple of caveats. Many of the Robocop films have been through development hell, Robocop 2 ignored most of Frank Miller’s screenplay, Robocop 3 was made with a PG-13 in a desperate attempt to save Orion Pictures and the 2014 reboot had Darren Aronofsky attached for years before Jose Padilha took over. Padilha called his work on Robocop (2014) the worst experience of his life. None of the follow-ups have been able to recapture the magic of the first film.

Blomkamp has been bitten when making franchise films. He was hired to write and direct a follow-up to Aliens but his work discarded for Alien Covenant.

Despite these issues a Robocop sequel holds a lot of promise because of Neumier and Miner return and Blomkamp abilities as a filmmaker. It will be interesting to see what this team can do.

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First ‘Shazam!’ Image Gives Us A Look At Zachary Levi In Costume

Kieran McLean

July 11, 2018

Entertainment Weekly has released the first image from David Sandberg’s Shazam! movie, which gives us an official first-look at Zachary Levi in costume as the DC hero.

Also Read – Djimon Hounsou Will Play The Wizard In Shazam

In the image, we see 14-year-old Billy Batson (Asher Angel/Zachary Levi), who can transform into an adult superhero by uttering the magic word. Billy is shown in the image chugging a can of cola with his best pal and fellow orphan, Freddie Freeman (Jack Dylan Grazer).

Check out the image below:

Talking to EW, the film’s director David Sandberg discussed what went into the design of the costume. The director reveals that he took elements from the many interpretations of the character, and moulded them together to create what you see in the image above.

See exactly what Sandberg said below:

“I wanted to keep the shorter cape as a throwback to the original because that’s something that sets him apart from Superman or Batman. It makes him feel a bit more Golden Age superhero, which is the vibe I’m going for.”

Shazam! will be the next DC movie after James Wan’s Aquaman. We can safely expect Zachary Levi, Asher Angel and David Sandberg to make an appearance at San Diego Comic-Con later this month, where they might reveal a further look at the movie.

The film stars Asher Angel as the 14-year-old Billy Batson, while Zachary Levi will portray the adult version of the character. Shazam! also stars Mark Strong, Jack Dylan Grazer, Grace Fulton, Ian Chen, Jovan Armand, Cooper Andrews, Faithe Herman and Marta Milans.

Shazam! will land in cinemas on April 5, 2019!

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DARTH VADER #18 Review: Charles Soule Becomes A Jedi Master

Dispatchdcu

DARTH VADER #18 written by Charles Soule, layouts by Giuseppe Camuncoli, finishes by Daniele Orlandini, colors by David Curiel, and letters by Joe Caramagna hits shelves this week as Soule gives us a glimpse of the greatest game of all.

Readers will leave this issue with a new respect for Tarkin and a more profound fear of Darth Vader. How could you be more afraid of this Sith Lord? Let’s find out!

WARNING SPOILERS AHEAD!!

DARTH VADER #18 SPOILERS TOO!!

Let the Hunt Begin

This issue is easy to summarize. If you recall from the past story arc, Tarkin owed a debt to Darth Vader, and it was time for him to collect. Readers find out that Vader wants Tarkin to try to kill him. Why? No one is left in the galaxy who can even come close to standing in Lord Vader’s way. It also turns out, Darth Vader did some research on Tarkin and learned of his past. Tarkin was a skilled hunter in his youth. So, the deal was struck.

Tarkin began the hunt with 20 men, and gradually Vader picked them off. However, Soule did a fantastic job dueling out respect for Governor Tarkin. The schemes he created to hurt, distract, provoke, and cripple the Sith Lord were impressive. Readers can see the time, preparation, and thought Soule put into concocting ways to take down the galaxies worst and most ruthless of all villains. After the second reading, it became easy to see that Soule viewed himself as Tarkin. What writer wouldn’t do that?

Masterful Artwork

Now, as much as Soule should be commended for his creativity, ingenuity, and masterful storytelling; the art team of Camuncoli, Orlandini, and Curiel also need to be applauded for their fantastic work. It was gorgeous. The detail in Darth Vader’s suit, from his torn armor to the Valath skin thrown over his back, helped elevate Vader to a new level of fear.

At the bottom of page 7, Curiel’s colors make the sunrise genuinely appear bright and real. It almost hurts my eyes to look at it. Next, look at the bottom of page 10. Vader’s helmet looks shiny, tangible, and real. The detail in his eyes watching the flames of his destruction are so impressive. Fantastic job to everyone who worked on this issue.

Tarkin’s Strategy

Here is an excellent overview of all the ridiculously epic ways Tarkin attempted to take Vader down to a draw. Instead of using blasters, Tarkin’s team uses flamethrowers. Great idea Soule AND great counter! Vader uses the force to destroy the actual throwers.

Next, Tarkin sacrifices a half dozen troops to get Darth Vader’s lightsaber. Another fantastic idea. But Soule shines through with his reasoning as to why he needs to take his trusted weapon. Soule describes it as the only thing Vader loves. In every meeting with Palpatine, he’s always touching it like an itch or even an addiction.

Tarkin’s Twist

Tarkin sent men to die merely to see the range of the force. That’s cold, but it’s smart. What put this issue over the top was Soule‘s outstanding inner monologue for Tarkin. Every step he took and every reason for action was stated and explained so well. Tarkin uses a race of aliens with sensitive hearing abilities to track the noise Vader’s suit makes when he breathes. Again, the smallest detail in planning made this one of Soule‘s best issues of this series, if not his writing overall.

The last amazing twist was seeing Tarkin give up in the lightning storm. Soule lets the reader think that all is lost. However, we see the clever planning of Governor Tarkin win out in the end. He picked the planet, and he set up an angry Vader to end in this very spot, which happened to conduct massive amounts of lightning. The Sith Lord gets fried! It appears Tarkin wins until the end when a practically lifeless Vader uses the force to choke out Tarkin.

One Small Problem

My only problem with the issue was when Tarkin set up camp. His troops just fought Vader in what appeared to be minutes before. Why stop now? He’s right behind you. Maybe a time stamp next time? Show the reader that his crew was running for some time and they feel Vader is far enough away to rest.

Soule’s Best Work Yet

This issue must have been so much fun to write. If you’re a Star Wars fan, you’ve probably had this very conversation: how would you defeat Darth Vader? What would you do? I imagine Soule sitting around with his friends having coffee and talking over strategies for killing Vader. Call me next time! I left with so much admiration for Tarkin as a character and so much more respect for Soule as a writer. My final thought to think about: would Darth Vader have killed Governor Tarkin if the ending was flipped?

Should you get this issue?

Yes. This issue stands on its own. Readers technically don’t need any information before this issue to read it, AND it’s a great spot to jump on the book and hook you in. The overall idea of the story has been done before BUT not with Darth Vader. However, Soule‘s creativity shines through in “how” Tarkin deploys his tactics and what he does in his attempt to kill one of the greatest villains of all time. If that doesn’t sell you, then pick the issue up for its fantastic artistic display of Vader in action. If you love Star Wars, you will love this issue.

Should you add this to your pull list?

If you read my review and this issue, you already know the answer to that question. 100 times Yes!

What did you guys think of DARTH VADER #18? Comment below or hit me up on Twitter @dispatchdcu

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DETECTIVE COMICS #984 Review: Karma Chameleon

Dispatchdcu

DETECTIVE COMICS #984 written by Brian Hill, with pencils by Miguel Mendoca, Diana Egea worked on inks, the fantastic colors are by Adriano Lucas, and letters by Sal Cipriano crashes into your comic shops this week as Black Lightning is introduced to his new students, Bruce Wayne, and a little taste of Karma.

Let’s join Brian Hill as he creates the new Outsiders, or Detective Squad, or Batman Inc., or whatever the hang they’ll call this team when it’s done!

WARNING: SPOILERS AHEAD

DETECTIVE COMICS #984 SPOILERS TOO

Hill opens the comic with a flashback of our new villain Karma paying a million bucks for that fancy helmet he’s wearing, which we are led to believe later in the issue can absorb superhuman abilities. Next, Hill cuts to present day where we see Karma attacking Orphan. Good thing Black Lightning jumps in just in time to even the fight.

Black Lightning shoots Karma with some lightning that he absorbs and sends it right back at Batman who just appeared out of nowhere to attack him. Batman crashes through a window and is messed up pretty bad. Even though Karma could end Bruce right there, he leaves this weird dagger on the ground in front of him and escapes into a sewer.

Later, Jefferson Piece (Black Lightning) has a heart to heart about Bruce using kids in his line of work. We find out that Alfred agrees with Jefferson but realizes there is nothing he can do about it. However, we end the issue by finding out that Batman wants Jefferson to be Duke, Barbara, and Cassandra’s new mentor. After the wedding let down and now Karma, Batman sees his family as a weakness. Is brooding Batman back?

First Thought

Orphan was able to kick some major tush earlier in this run when she took out her mother’s league. She single-handedly took them all down, AND Batman made it seem like he would lose if the two of them fought each other. So, how can some no named guy come out from nowhere and put Cass in her place?

Maybe you say it’s the helmet? Ok… It’s the helmet. Then, why hasn’t every villain in the world tried to use this dang helmet if it’s so powerful? This didn’t pass the sniff test. However, Tynion (the past Detective writer) painted himself into a corner making Orphan that “powerful” and “trained” in the first place. Now, Hill has to deal with it and hope everyone forgot that little tidbit.

Second Thought

Why didn’t Karma end Batman? He had him dead to rights but chose to escape into the sewer. If he wanted Batman dead that badly, he should have just ended him there. This plot point in comics is tiring. Granted, Hill could argue that Karma wants him to suffer. But, hasn’t that been done already? This smells a bit like DEATH IN THE FAMILY. Right?

Third and Fourth Thought

Can Batman finally stop getting his butt kicked? Ever since Rebirth, Batman in any book, whether it’s written by Scott Snyder, Tom King, or James Tynion, writes a Batman that can’t fight! The guy who knows assorted Martial Arts and trained by dozens of Masters gets beat almost daily. It’s as if every Batman writer sends out a memo stating, “in conclusion, Detective Chimp is the World’s Greatest Detective, AND Batman lied about all that Martial Arts training. Sincerely, Batman Writers Union.” Hill, can you please fix this? OR, at least don’t join the Union!

Also Hill, you’re going to tell readers that everybody and their granddaughter knows Batman is Bruce Wayne but not Jefferson Pierce? Granted, Hill did a great job in the issue opening with Black Lightning not knowing his identity and being forced into it by the end.