The power of film to make statements and to effect meaningful change is truly quite impressive. But it’s also possible for the impact of that influence to be diminished when a picture overstates its case, a problem that seriously hampers the latest feature from writer-director Boots Riley. This second offering from the filmmaker in many ways echoes themes introduced in his debut release, the deliciously satirical “Sorry To Bother You” (2018), with its poignant but deftly balanced messages related to social and economic fairness, personal ethics, and the business and political climate. However, in this case, the volume on these notions has been turned up considerably, to the point where it fundamentally screeches at the audience, no matter how much viewers may personally agree with the points the director is attempting to make. The film essentially follows the exploits of a group of “boosters” – designer clothing thieves – in the greater Oakland, CA area, led by aspiring designer Corvette (Keke Palmer) and her associates (Naomi Ackie, Taylour Paige). They target the retail outlets of iconic clothing creator Christie Smith (Demi Moore), a notoriously self-absorbed, self-important designer of overpriced clothing that she sincerely though euphemistically looks upon as “body art,” an element that she believes is integral to the evolution and advancement of society. Smith has made a fortune through her efforts (many of which are less than honorable), but she quietly seeks more than money: she lusts for power and control over her loyal and easily bamboozled customers and overworked employees, many of whom toil under deplorable conditions in manufacturing sweatshops in China. As revelations surface regarding Smith’s methods, things turn both personal and focused on bigger social and economic causes, especially when supported by idealistic aims at reframing injustices in all of these areas. This sets up factional; battlegrounds on multiple fronts to address these issues. Reg...

This is a low-IQ movie written by a low-IQ dummy for the lowest IQ zombies walking this earth.

One of the worst attempts at an artsy movie I've ever watched (part of anyway). Several people in the movie theater got up and left and we eventually did as well. Full disclosure: We live in a very nice part of the city, not anywhere near the ghetto part of town. I am sure in the dumb part of town they thought it was valid entertainment.

So to sum up, the mouth-breathing knuckle-draggers walking around our planet will clap like seals for this, and the rest of us will just star in amazement at their utter stupidity. 1/10 total trash.

This was a very good movie. It's very smart and it's for smart people. I watched the full movie and understood the content very well.

Three words: What! A! Feast!

My my my, where to start? I went into this one not knowing exactly what to expect and was deeply skeptical given that I'm not a fan of fashion movies and I'd not seen any Boots Riley movie. However, just fifteen minutes into the movie, all my doubts were excorcised and it just got better and better to the end. I mean, for instance, how many movies have you watched recently that had literal soul-sucking demons that were fashion models and gold-star medalists at giving head?

Out of caution not to spoil any of this wonderful feast for the curious viewers, I will not say any more except just to note that it has all the makings of a cult classic and is a masterpiece of modern cinema in its own right. If you're looking for a sumptuous comedy that makes you laugh throughout and that also ingeniously critiques the hell out of this hell-hole that is our global capitalist reality created and upheld by shallow, pretentious, and greedy billionnaires, please make sure to watch this one. Lovers of fashion will also find plenty to keep them gasping and searching for air as will fans of Keke Palmer who, without a doubt, derserves several awards for her performance. Personally, I know I'm gonna be rewatching this gift of a movie quite a number of times and I also have Boots Riley's previous movie on my watchlist now.

Consequently, I highly doubt that any of the "reviews" trashing on this classic are from good-faith audience members who actually watched the movie. For some reason - maybe it's because of the movie's unapologetic critique of capitalism or because of its leads being powerful black women or something related - there seems to be a conccerted campaign to censor or undermine the movie. This, of course, is yet another reason to watch it cause, you gotta wonder, why don't some powerful companies and people don't want us watching it?

That said, the only things that made me not give this a 10/10 were its promotion of drug (including alc...

Well hurray, a movie about shop lifting meant to punish a successful person. The narrative of the have nots pursuing the destruction of the haves. I do not condone nor support this activity in life and I find it disgustingly glorified in this film. Pure offal! 0/10

Don’t Let "I Love Boosters" Be the Last Boots Riley Film You Watch

In this film’s opening image, Corvette waltzes into a nightclub and dances in the mirror alone. Suddenly, Pinky Ring Guy’s alluring stare draws her in. Even though his aura was undeniable, she shifts her sights onto a prospective buyer. Based on her lonely but ambitious entrance, Corvette is established as an entrepreneurial loner with intention. Corvette is a community builder, albeit a struggling one who cannot afford rent in Oakland. Class is the invisible hand that stops her from fully believing in herself, while capitalism is the game board she stands on.

This game she plays is simple. Exploit the laborers who make the profit possible and continue to steal resources or undervalue the resources enough to minimize expenses and consequences. Corvette, as a hustler, performs capitalism less greedily through her grassroots pathways. However, her methods are flawed. She lives in her own habitus composed of hijinx and high fashion, with very little insight about how the clothes she shoplifts were made in the first place. Her inadvertent ignorance gives way for self-evolution, friendship, and respect to arrive fashionably late while nuance is right on time. By acknowledging the contradictions and dialectics of creating art under capitalism, Corvette’s journey revealed her parallels to the antagonist the Velvet Gang aspires to become, Christie Smith (Demi Moore).

Corvette struggles with loneliness and glamorizes the designer world she has yet to join. She knows she’s a talented fashion designer, and she has a philanthropic cause, but she fails to acknowledge that she has enough to get where she wants to go. By overlooking her loyal community’s impact and hoarding her designs for herself, she manifests a sense of lack on her path—hence the ball of ATMs/Bills/Eviction Notices.

As the story progressed and Corvette’s wants and flaws surfaced, this motif made complete sense. Riley used absurdist...