Race-car driver Blaine Striker grows concerned about his younger brother, a student at a medical school on the Caribbean island of St. Heron. General Turner has led a violent coup on this island and may be planning to blow up the school in order to blame the destruction on counterrevolutionaries. Striker infiltrates St. Heron, is captured, stripped to his tighty-whiteys, and electrotortured. He escapes, joins forces with the counterrevolutionaries, and foils a plot to assemble Russian missiles on the island.
True crime media is notoriously obsessed with the “missing white woman” trope, and yet the vast majority of American murder victims are male, and well over half are people of color.
It's sexy, regardless of what else is going on.
Sorry to Bother You ultimately speaks to the unfair advantages that the country’s power structures award to those with the resources to control others, as Lift’s easy access to the media allows his opinion to be the only one that matters in the eyes of the unsuspecting and easily impressed public. Moreover, it reveals the extent to which the American Dream has any true validity. It postulates how the promise of success and fulfillment as promoted by the American Dream more often than not leads to the undoing of the individual. Interestingly, in its revealing of the American Dream as merely a facade, Sorry to Bother You wisely questions whether or not anything can really be done to undo a system that has been accepted and in action for centuries.
Barry Jenkins' masterpiece holds up as the story of a lifetime centered on the intersection of Blackness and gay identity.
If a movie about a strange and crazy day is commercially successful, why not recycle it and double the kookiness quotient? That seems to be the logic behind this followup to Freaky Friday.
