Sorry to Bother You [Hindi](in Dubbed Hollywood Movies) Sorry to Bother You [Hindi] (2018) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Sorry to Bother You [Hindi] on your mobile, tablets and ipads
Plot: In an alternate version of Oakland, Cassius Green gets a telemarketing job and finds the commission paid job a dispiriting struggle as a black man selling to predominately white people over the phone. That changes when a veteran advises him to use his "white voice," and the attitude behind it to… Runtime: 112 min Release Date: 13 Jul 2018
I walked into this movie at an advance screening expecting something unique, but nothing could have prepared me for the sheer brilliance of this satirical masterwork. Hilarious from beginning to end while also subversive, this film joins some of the finest satires of its generation--from "South Park" to some of the best episodes of "Saturday Night Live" to "Wild Tales."The story follows Cassius, an African-American telemarketer in Oakland. When told to use his "white voice" on the job while making calls, he quickly rises through the ranks of his <more>
profession--and ends up getting a hefty promotion. All of a sudden, things start to spiral out of control. I definitely won't give anything else away, as doing so would spoil what clearly must be experienced for oneself. The film's script is incredibly strong and is consistently hilarious. I laughed more while watching this film than any other movie in recent memory. Its dialogue is not only humorous, but incredibly frank and on-the-nose in its brutal honesty. The film's social consciousness and commentary intersect in ways that are thoughtful, snappy, and deeply rooted in often unfortunately a sense of genuine realism. Yet the film's image of the world is not equal to our society with microscopic precision, as its humor often tends to look at current societal issues with the mirror of a macabre fun-house.Performances in the film are outstanding throughout, and the film is incredibly engaging throughout its run time. Free of pacing issues, it moves at a fast pace and twists and turns so unusually that one will never know what could happen next. This erratic nature is truly part of the film's genius. If such a style of narrative filmmaking was attempted to be used as a technique in almost any other film, it would fail miserably, but Boots Riley was able to commendably stay one step ahead of audiences while making them laugh profusely and question why and how our society may be in deep-seated decline. Also noteworthy is the film's soundtrack, which is a superb mix of rap and pop. The movie can often be strange, but viewers will be all the more thankful for its genuine audaciousness upon the film's conclusion.Riley's ambitious filmmaking has a variety of possible influences Spike Lee, Jordan Peele, Alejandro Inarritu, Charles Kaufman yet feels wholly original--and genuinely, howlingly funny and socially relevant despite being so unconventional--from beginning to end. Very highly recommended. 10/10
Pros: the movie is a unique piece of B movie art. Lakeith Stanfield is a great actor. Tessa Thompson was a really interesting character. The movie was hilarious. Cons: It felt like the director was unsure on how to end the story, the protest scenes lingered for far too long.
Satire of gig economy drifting into fascism. (by maurice_yacowar)
This richly inventive satire may have been 10 years in the making but it speaks trenchantly to our moment. The title is the telemarketer's opening gambit, but it also works as a pseudo-apology to the film viewer for interrupting his entertainment-time with a rude awakening to our harsh social reality. The profit-uber-alles ethos is propelling us into a fascist state. The initial satire targets corporate salesmanship. Management create an illusion of "family" and "team" to harness their commission-only drones selling delusions of success through unnecessary products <more>
like encyclopedias. There's an endangered species. This is a sad view of our gig economy. But the telemarketer's prime customer has a larger humanity to numb. They offer Worry-Free Living, a sweeping assurance policy that will guarantee its clients a life of work, "security," minimal comfort, in short, an updated version of slavery. Company head Steve Lift carries the promise of improvement in his name. Even its glossy commercials reveal the system's total abandonment of privacy, of individual living. In exchange for guaranteed - i.e., unending - labour the clients enjoy living in rooms full of bunk beds, with drab uniforms and meals of slop provided. This is the no-worry life that can seduce individuals to resign their humanity. In offering to meet all its workers' earthly needs, that company seems to promise a kind of socialism. Instead it delivers a tyranny, a total reduction of its workers to a brutish life. Here the film parallels the conversion of the pretence to populism in America and Europe into right-wing fascism. Company head Lift takes his dehumanizing one step further. He is using a drug to turn his serfs into equine-sapiens, humans with exploded muscle strength but with the heads of horses. This brutalizing makes human labourers all the more efficient. For a saving grace, they get the horse's schlong too. Every cloud.... Our nebbish hero Cassius Green grabs the telemarketing gig as a last resort. His surprising flair gets him promoted to Power Caller, which llifts him to meeting the impressive Steve. Having succeeded as seller, Cassius is now converted to product. Lift offers him $100,000,000 to undergo the horse change and work as the company's agent in the workers' union for five years, after which a serum will - hopefully - return him to human normalcy. He gets to keep the schlong. Instead of accepting Cassius tries to expose Lift's nefarious scheme. But the company's spectacular profits valorize even that evil practice. Money talks; who knew? Only by submitting himself to painful abuse and humiliation on TV can Cassius air his scandalous revelation. The film's activism is encapsulated in Cassius's girlfreind, Detroit. She swings a sign-company's advert on a street corner, but her real calling is politically driven art. In addition to her paintings and sculpture, she does a performance piece in which she also maintains dignity in the face of the audience's invited abuse. That anticipates Cassius's strategy. Detroit's very name evokes the America of economic and racial injustice. In his name Cassius combines the "slave name" of the revolutionary fighter Mohammad Ali with the society's hunger for the long green, which also reduces Cassius to Cash. The central characters may be black but in the film's major concern race gives way to class. The traveling labour organizer Squeaze is Chinese. This struggle is not black vs white but Haves vs Haven'ts. In their speech Cassius and Detroit have left behind their street-smart. They speak white like Will Smith. But Cassius's sales success lies in his affecting an even whiter tone, the voice of the Privileged/Confident/Carefree. That's economic not racial. That voice sells and makes him a huge success-only to doom him to fulfill his user's baser intentions. Cassius's success not only pulls him away from his striking colleagues but dooms him to his boss's designs. This dystopian Oakland satires sends a clear message. Voters of the West unite. You have nothing to lose but tyranny.
Boots Riley is a better Spike Lee than Spike Lee (by phaedrav)
Writing what you know is always wise. Artists writing about their art, easily gets incestuous and tiresome. Sorry to Bother You draws on experience and pulls in imagination in the blend of good science fiction.Future viewers will be discovering this one, for decades to come.
The terrifying reality of the present (by mstogrin)
One of the smartest films I've seen. A lighthearted comedy turned thriller. It tackles all kinds of issues about unions, racial discrimination, systematic oppression, even microagressions. If you want to be a woke folk go see this film with your minority friends. It opens a platform for some great discussions.
Off-the-wall! (by littlemankazoo)
If "Get Out" deserved to win an Academy Award for how original it was, "Sorry To Bother You" deserves to win about five times that amount.Where to begin with "Sorry To Bother You"...This film is bonkers. Off-the-wall. Flamboyantly and unapologetically original. This film is ITSELF, and I cannot say I have seen many films like this."Sorry To Bother You" is the writing and directorial debut for musician Boots Riley, a previous contributor to the world of film as a songwriter for films such as "Superbad" or "The Losers".This film, <more>
however, has contents within that are no simple single. It has treasures worth an entire LP to dig through, and I cannot stress enough that it is a piece worth checking-out.The sense of style that Riley's direction features here is so off-the-wall and unlike anything I have seen this year, it really differentiates itself from the rest of the pack for this summer's field of films. Transitions from scene-to-scene are unique, the characters are entertaining and all identifiable to what they serve for this film's story.The ideas incorporated into this big, massive stew of a film that combines quite fantastic comedy writing with societal and racial commentary that really does cut deep at times is what makes it such a tremendous thing to stomach. I would dare call it 'overwhelming' for some viewers, if it were not so crazy and insane at some points that most 'normal' audience members would be driven-off already by then.Rather than what I found to be unfocused commentary that was featured in "Get Out", Riley's script manages to be an unholy, caffeinated lovechild of "Office Space" and "Get Out", worming its way into a position of being not only a hilarious comment on the workforce of today, but also how race and society factor-in as well.Along with this, the performances are all first-rate in every regard. Lakeith Stanfield is bought every second as our protagonist that is torn-between playing the system and being himself in a society that is adapt-or-die, his supporting cast keeps things upbeat, and the voice-over performances/cameo appearances by David Cross and Patton Oswalt make every moment they appear an incredibly fun time.That said, this film's penchant for insanity and turning the wick to 11 at every chance is where I feel some people may be lost. The story by the time it reaches its climax becomes somewhat muddled amidst all the insanity the third act decides to unleash upon the audience. This film's only true crime is that perhaps it is a bit "much" in some regards.However, for a film that very much fancies 'Style' over 'Substance', this one has all the style in the world. Funny, poignant, and overall a hell of a ride, "Sorry To Bother You" is one of the most unique and creative films I have seen so far this year.You can keep "Get Out". THIS is my cup of tea.
Wow, there are a lot of people who don't like this movie, and moreover, seem to mad that others like it. Some samples:"I think people who are giving it high praise believe that's just what their supposed to do but the fact is it's just a dumpster fire of a movie."" I RARELY write movie reviews but had to inform people of the facts on this one.""The positive reviews are from movie snobs who think they are smarter than everyone else and recognize brilliance in pure garbage."You get the point. It's almost like we're all supposed to like all the <more>
same things now. In fairness, there were plenty of other reviewers who didn't like it, but said they're glad others enjoyed it.I'm not a movie snob. I'm not a film executive and I have nothing to do with the film except I paid 6 bucks to see it last Tuesday. This is a very surreal satire. It won't be to everyone's liking, but it seems to me that we are getting more and more confused about the difference between fact and opinion. It's not a fact that this movie sucks, any more than it's a fact that this movie is great. These are classically opinions. Me, I like movies that start sort of pseudo-normal and go into bizarre. This is right up my alley. It's a Repo Man for our generation. Genetic engineering, dead end call center jobs, megalomaniacal Bay Area billionaires trying to save the world, race relations and post-postmodern art commentary. It's all painted in a crazy, bigger-than-life science fiction brush. Yeah, it's weird as hell, and maybe ends a little weakly Monty Python and the Holy Grail, anyone? but has a method in its madness.If you don't like absurdist humor, or if you don't like movies that are at least semi-overt political statements especially if the political statement is opposed to yours. Anti-union, pro-business capitalists with short fuses be warned! You should give it a miss and just read the National Review's Ross Douthat's review. He saved you a lot of time worrying your beautiful mind about it. , and if you don't like a dollop of science fiction every now and then, yeah, you're going to probably hate it.But your opinion is still not fact. I liked it. That's my OPINION. Get over it.
Sorry to Bother You is a strange, surreal, hilarious satire guided by the intentionally unsteady hand of rapper-activist turned debut director, Boots Riley. It dabbles in commentary on media, society, race and working-class issues-so many poignant messages, some more successfully delivered than others. The fearless absurdism will likely distract some viewers from a couple of these messages, but I'm okay with that. I take this wonderful creation much more for its entertainment value than anything else. The messages that do resonate should come through clearly. Riley's story doesn't <more>
shroud itself in murky metaphors. It tells us exactly how to interpret the bizarre world he has created. Rising star LaKeith Stanfield plays Cassius 'Cash' Green, a deep-thinker who lives in his uncle's garage with his artistic girlfriend named Detroit the invaluable Tessa Thompson . It comes as no surprise that a man who goes by Boots would opt to give his characters unusual names. These two are just the beginning. To collect enough scratch to keep up with his rent and put gas in the rusty bucket he drives, he takes a job as a telemarketer. When a wise elder advises him to use "white voice" to improve his sales, Cash starts to rake in the green. After he rises the ranks of the telemarketing world, ascending to the divine status of power caller, he attracts the attention of an eccentric, drug-fueled CEO, Steve Lift Armie Hammer . His company, WorryFree a place where employees feel anything but hides a dark new idea. But when the secret leaks to the public, his stock unexpectedly skyrockets, and Lift is declared a pioneering genius. The rational-minded public undoubtedly opposed Lift's plan, but big business carried on. As union organizer Squeeze Steve Yuen explains to Cassius, "if you show people a problem, but they don't know what to do about it, they just learn to get used to it." If you think you have any of this plot figured out, think again. It makes a radical left turn in the third act that will tempt some viewers to jump ship. My advice: stay on board. Even if you don't want to totally buy in, just hang around to see where this new direction leads. The film flies along with such easy energy early, then hits turbulence when trying to figure out how to end this thing. Riley introduces so much psychedelic madness that by the end it's nearly impossible to wrap up the story. But at some point, one must come down from every trip. Even with as jarringly fantastical as it is, in many ways this movie also feels incredibly real. As Riley puts it, he strives to "break down reality to help us better understand it." Mission accomplished.
This Movie Will Mess You Up a Little (by bkickish)
I won't give anything away, but just prepare to be shocked and a little messed up by this movie. It's an understatement to say that it's not the movie you think you're gonna see. With that being said, it's got plenty of humor and we really liked it...but it definitely messed us up a little. You're gonna want to phone a friend after the movie ends so you can re-adjust to the real world.