I Love Boosters - Movie Review

本站添加: 2026-06-02

[00:00:00]The best way I can describe this film as if it was like a Spike Lee film on surrealistic steroids.

[00:00:05]>> What's funny enough is they have a little bit of a rivalry because in his opinion Spike Lee is not radical enough.

[00:00:09]>> Oh.

[00:00:10]>> They've had They've had some like tweet offs and stuff.

[00:00:12]>> Oh, really? I didn't know that. Well, that actually explains a lot.

[00:00:15]>> Yeah. [laughter] >> All right, so Jeffrey, we're here today to talk about the new Boots Riley film, I Love Boosters. Tell us what you think.

[00:00:25]>> I Love Boosters comes to us from Boots Riley who is a filmmaker and hip hop musician. He is a member of The Coup, the '90s hip hop group, and actually I didn't realize this until recently, but also a member of an offshoot of Rage Against the Machine called Street Sweeper Social Club that I saw live like 10 years ago. It didn't last, but kind of funny I didn't realize that I had seen him live. His debut feature, Sorry to Bother You, we saw in theaters in 2018, and that was like a complete burst of creativity and insanity and anti-capitalist sentiment, and I think a more refined and heartened version of that finds its way to I Love Boosters, which is just an absolute blast from start to finish. Just to give you an idea of Boots Riley's politics, his first two albums are called Kill My Landlord and Genocide in Juice.

[00:01:14]>> Oh my god.

[00:01:15]>> So, he has been a a huge proponent of anti-capitalist and pro-worker sentiment for a very long time since like he first came on the hip hop scene in 1993. Maybe like this film is like an inch too long, maybe like 10 minutes too long, a little too shaggy, but it's just this really, really funny film about characters going to some truly absurd places, and I really respected it from start to finish. Regular watchers I think have heard me say this kind of thing before, but I really respect how when a film has a great idea, it doesn't just ride that idea all the way through. It starts in one place, which is the premise, and then it continually recontextualizes itself and reframes itself and looks at its ideas from all these different angles while putting in all these like absurd and insane new plot points, which this film certainly does pervasively.

[00:02:04]But, I really appreciated how it followed its own ideas all the way down the rabbit hole.

[00:02:08]>> I completely agree. The best way I could describe this film as if it was like a Spike Lee film on surrealistic steroids.

[00:02:15]It is just extremely colorful, a lot like Spike Lee's movies are. So, I could see the inspiration probably, especially after saying that he was part of this '90s group.

[00:02:22]>> What's funny enough is they have a little bit of a rivalry because in his opinion, Spike Lee is not radical enough.

[00:02:27]>> Oh.

[00:02:28]>> They've had some like tweet offs and stuff.

[00:02:29]>> Oh, really? I didn't know that. Well, that actually explains a lot.

[00:02:32]>> [laughter] >> Because this movie is so colorful, so vibrant and rich, and it's so imaginative in all these different ways.

[00:02:40]It made me think a lot of Everything Everywhere All at Once with just these ridiculous ideas of how to visually showcase metaphors and stuff like that.

[00:02:49]So, there's all these weird and quirky happenings. I would say with probably, if I'm comparing directly to Everything Everywhere All at Once, I would say it probably has a little bit less of an emotional core to it, where Everything Everywhere All at Once has this like really tight focus on its family. This film probably deviates a little bit from that to make its characters more reflective of an idea. So, we'll get into all that deeper in the review, but I really loved just so many of these surrealistic metaphors that are displayed throughout the film. It takes a lot of thought. You have to be very connected culturally to the world to understand a lot of these things.

[00:03:20]There's a great joke about Candace Owens in here. There's There's There's so much about capitalism, consumerism, the clothing industry, about class divisions. There's like a great moment of a clip with our main baddie played by Demi Moore, where she's in a photo with Barack Obama.

[00:03:37]>> [laughter] >> So, I think this film is just great because it doesn't aim downward. It always aims upward, and it's going for all these people regardless of political belief, class. It's It's just gunning for everybody in a specific way. With the exception of And even I would get So, our main character with Keke Palmer, she plays Corvette in the film, and she is a booster, and she's stealing from all these high-end stores so that they could sell the clothing and the shoes for cheaper prices. So, they call it like their philanthropy something cuz they're helping the community.

[00:04:07]>> Fashion forward philanthropy.

[00:04:09]>> Yes, fashion forward >> Where they have to spell philanthropy wrong to But it's But it's branding, as we say.

[00:04:14]>> [laughter] >> And they're basically stealing from the specific person's stores, uh Metro, which is run by Demi Moore's character, Krystle Smith. So, there's a lot of great stuff baked into that, especially with Will Poulter showing up as one of the managers. And I love how the store All the clothing is of one color every single cycle. So, you could go to that one store and everything's in green. And I love how his hair, the highlights in it change the color with his suit. It's really funny. So, yeah. I mean, those are my basic impressions so far. I know I talked a lot, but I just really loved how colorful, surrealistic, metaphorical this film was.

[00:04:47]>> I agree. I I just thought of this now, but when you were talking about how you have to be really in tune culturally to get some of the satire here, there's even like a thing with Demi Moore where she says these uptight urban or something like that. And she's like, "With all due respect to other urban."

[00:05:03]And I thought that was really funny, but especially because a couple of years ago the Grammys got in trouble because whenever there was music from the black community that they couldn't like say was hip-hop or jazz, they would just put it in the urban category.

[00:05:16]>> And people kind of rightfully, I think, freaked out because it was just like a "We don't know what to do with these black people. Here you go." And it was like incredibly racist, in my opinion.

[00:05:25]But I think that the use of the word urban in Demi Moore with Demi Moore's character is certainly like satirizing that kind of idea. And the film just has an excellent way of satirizing the ways of which the poor can manipulate themselves into thinking that the system is working for them or that they don't deserve things that are above what they have. There's some great stuff with newscasts in this film, a black woman who's afraid to look out her own window, and there's a get there's a guy who says he's really happy with his low income because more money would just mean more stress.

[00:05:55]>> Yes. [laughter] That's hilarious.

[00:05:56]>> This other guy, he's like, "Oh, actually, I don't want health benefits because when I got health benefits, I got a therapist and that it made me feel bad to like unpack myself." Just hysterical stuff. A plus timing and and frankly, so timely because so much of the working poor in this country believe that a person like Donald Trump is on their side and they have manipulated themselves into thinking that this is the way that things should be. And of course, it's total nonsense, in my opinion, but this film has has such a good way of encapsulating that type of persona and philosophy.

[00:06:27]>> Yeah, so there's so many things that this film is commenting on, which I think we'll get into a little bit more into specifics later. We'll try to keep it as surface level as we can for now to avoid spoilers, but let's get into Keke Palmer as Corvette in the film, because I absolutely adore Keke Palmer and everything she is, and I think she just has this magnetic and electric personality to her. I feel you're just immediately taken in by this personality that she has, and it's not really that she changes much in her roles between the films that she does, but that her personality is so electric on its own that I I just don't really mind. But she plays this character in this film where she's a booster and she's trying to get into the fashion industry. Like she's interested in the fashion industry. She had a design, she put it in this contest, she didn't win the contest. She comes to find out that Demi Moore's character, Cristel Smith, steals her design and puts it in one of her stores.

[00:07:16]So, she is basically on this vendetta throughout the movie to pay back Cristel Smith for stealing her design and expose her for the fraud that she kind of is. I In a way, Cristel Smith is somebody who came up from humble beginnings and then gained all this notoriety and money and then lost herself morally along the way.

[00:07:36]That's an interesting conversation that the film is having, maybe not as deeply as I would have liked it to have because it had so many things going on, but I just really like the film having that conversation and also just Keke Palmer's great. But she's paired with Taylor Paige in the film who plays her best friend Mariah and she helps her with all this boosting and there's a dynamic between the two that I will get into a little bit later, but I really like this dynamic between the characters and when it chooses to reveal these dynamics very bluntly towards the end of the film. We also have LaKeith Stanfield who plays Pinky Ring Guy in the film and he's kind of just the >> He doesn't really have a name.

[00:08:11]>> Yeah.

[00:08:11]>> He has a lot of interesting quirks, but not really a name.

[00:08:14]>> Yeah, he plays this heartthrob that Kervette is just super infatuated by every time he comes around and the film makes a point of showing us that by the camera itself like jittering or being manipulated in certain ways that kind of looks like you're in a bubble or something like that.

[00:08:28]>> But that kind of sets us up with some of our main characters.

[00:08:31]>> Yeah, and you also have um bigger stars like Will Poulter is in this film. Demi Moore are both willing to be the brunt of the joke a lot of the time which I give them credit for and I think they're hysterical in the movie. Will Poulter, he works for Krysty Smith's empire like managing different stores and he is so just wrapped up in the whole thing of Krysty Smith and her mythos and all of that. There's a great bit about like the music is way too loud in the stores. I thought he was really really funny in the film. He's not in it a lot, but total like totally game to be the punchline and Demi Moore is hysterical in the film. She plays like a bad person um but a person that very much exists like that type of person that did rise up the ranks and have a certain social and financial mobility between the classes that then she looks down on the lower class and says, "Why aren't you doing that?"

[00:09:20]>> Yeah, but she's also almost ignorant or so disconnected from the way things actually operate that I don't even know if she has a clue. Like she just says things as if they could happen, but she doesn't understand the ramifications of her decisions.

[00:09:32]>> Yeah, I also think that she is and this is a lot have to do with the fashion industry, but she's a person that puts aesthetic first over something that makes cognitive sense or like pragmatic sense, and you could see that with her slanted apartment.

[00:09:44]>> Yeah. Yeah. [laughter] Oh, I have stuff to say about that, but I don't know if I should say it now.

[00:09:48]>> Yeah, well, we could talk about it. The apartment is great, but we could talk about it. It's not like a spoiler, but I don't want to like spoil the jokes for you if you haven't seen the movie.

[00:09:55]>> what I will say about production design is that it's so retrofitted to our characters. As you said, Demi Moore's space is very clean and white and sterile and almost lacking energy with the exception of the clothes that are scattered around or the items on the shelves. And in complete contrast, we have Corvette basically living in an old fast-food joint that doesn't exist anymore. It's all boarded up. She's squatting in there. Even still, her space is so maximalist. There's so many clothes and ideas and concepts everywhere. You could see how she made the space her own. There's a really funny bit with like one of her friends asking if she could shower. I think it's Mariah.

[00:10:34]>> Oh, yeah.

[00:10:34]>> towards the beginning of the film, and she ends up just hooking like a faucet to the ceiling. And she ends up >> actually she's literally using the the hose for the dishwasher.

[00:10:42]And I think that that's like that's really funny. And the way in which this film uses its maximalist set design and like this otherworldly fashion-forward sense, but inserts that into either a bit of character development or like something that it becomes a joke, becomes a part of the comedy of the film and the slapstick and cartoonish nature of it. I really like that. I mean the idea that you plan your jokes so carefully that they make their way into the set design is a really smart piece of filmmaking.

[00:11:08]>> Yeah, and the same goes for the fashion elements in the film. It's It's no Devil Wears Prada, but it's great in a different way. There's this amazing scene. It's hilarious. It's one of the first boosting scenes we see in the movie, and they wear these very baggy clothes, and they come out of this metro, and they're just wobble >> [laughter] >> with their clothes just full of other clothes, but they also look great doing it.

[00:11:31]>> That's the the of the movie where they have a white friend to like get offended by the people fighting so that people know this.

[00:11:37]>> The beginning like 40 minutes of this film just goes so quickly and it's just packed with so many jokes.

[00:11:43]>> Do you think our audience was into it?

[00:11:45]>> I was laughing out loud. I was I was laughing out loud really hysterically. I couldn't read like if our audience was like this is weird or this is >> Yeah.

[00:11:52]>> Yeah, there were a lot of white people in the audience and sometimes they could be a little slow to getting some of these jokes.

[00:11:57]>> I think this film was really smart the way that it rolled out. So this premiered at South by Southwest and then they did private screenings at universities all across the country including one at Yale that we missed by the way sadly. They like screened it like two months ago. But I think that was a perfect way to build buzz for that movie because if anyone is going to get these movies I think it's like hyper literate college students who are probably on the left side of things. Do you want to go to spoilers cuz I just want to talk about some jokes?

[00:12:22]>> Okay, I guess. We said pretty much everything we wanted to say. We really enjoyed this movie. I highly recommend seeing it.

[00:12:27]>> Yeah, I had a blast. Really good time.

[00:12:28]>> It's just very imaginative. It's something you don't see everyday. It really solidified I think Boots Riley as like a director with a very specific visual sense. He has something to say here that's so different from a lot of other directors that exist in today's world.

[00:12:41]>> Yeah, very very unique especially for um a film that is in wide this weekend like in 2000 plus theaters and Boots Riley hasn't made a film in eight years and you could tell that he's had a lot of ideas since then cuz it kind of felt like every idea he's had in the past eight years he's trying to force into this movie which I don't think is a bad thing. It's makes it very entertaining but we will go to spoilers now which this movie is like I don't know spoiling it is kind of whatever but you if you want to enjoy the jokes the jokes are really funny so we're just going to kind of laugh about some of the humor and where things go in this movie so.

[00:13:13]>> one of the twists I want to talk about that happens about 3/4 through the movie. So weoo weoo weoo this is your notification to go away unless you don't mind being spoiled. One of the first jokes in this movie or surrealistic moments that exist is this giant ball that's rolling towards Corvette's character. It's filled with uh eviction notices and bills, and it's just so huge and so massive and so overwhelming. And you see Keke Palmer's character, Corvette, running away from it consistently. And I really love this metaphor because it plays itself throughout the film and has a beautiful moment towards the end.

[00:13:47]>> The way that this film ended, I thought was actually pretty touching. And for a film that I think is really cynical and suspicious of a lot of what's going on in society, it truly believes there's a better way. And I love the metaphor towards the end when they were using the thing, whatever that is, the deconstructor thingy. That everyone is actually on the same side. That if they if all of the working poor could kind of separate their biases, you would see that you're actually all working towards the same things. I want to talk about the the MLM satire.

[00:14:15]>> Oh my gosh, it was so good.

[00:14:16]>> great stuff. [laughter] And I didn't even realize that the um I forgot the guy's name, but the head of the MLM is um Don Cheadle. Did not even recognize him.

[00:14:24]>> gosh, they did some stuff with him. I I was like, where is Don Cheadle in this movie? Cuz I saw him in the credits and I didn't even know.

[00:14:29]>> It's like a literal pyramid scheme that he shows them. And like yet another way that the rich convince the poor that they can have this upward mobility without while essentially scamming other low-income people.

[00:14:40]>> I'm still not over the fact that that was Don Cheadle. I had no idea. I thought it was a completely different actor. The prosthetics, whatever they did for his for his face, it made him like a completely different person.

[00:14:50]>> So in the initial meeting for that, there's this great dissent from somebody where he says, "Oh, they're been working forever at this and they're still broke and their mom won't talk to them anywhere." And he's like, "Your mom's a >> [laughter] >> It's just so good.

[00:15:02]>> It was so great.

[00:15:03]>> I love like like we know people who have been duped by MLMs. I mean, they don't know that they've been duped by MLMs, but we know they've been duped by MLMs, but it shows this really insular cult-like mentality that just exercises any criticism with such a quick dismissal. And I I think the film like encapsulated that and satirized that so beautifully and so piercingly. Just really good stuff.

[00:15:23]>> Yeah, one of the biggest arguments, obviously cuz we know people who have been in MLM pyramid schemes, is that when you say it's a pyramid scheme, they say the corporate structure is a pyramid scheme. So, it's really hilarious that they show the pyramid. Like the guy shows >> Yeah.

[00:15:37]>> the Don Cheadle character shows a pyramid and it has like Oprah Winfrey and Warren Buffett on it >> Yeah.

[00:15:42]>> and Elon Musk on the pyramid and showing how you start right at the bottom and as you get people underneath you, you'll work your way up.

[00:15:49]>> Mhm.

[00:15:49]>> I mean, it's true. The corporate structure is a pyramid scheme in so many different ways, but the fact that you think that going into something like this is going to solve all those things magically is just not possible. You always have to work off the backs of somebody else.

[00:16:02]>> Mhm.

[00:16:02]>> But I think the signs of a healthy society is how much you take care of the people beneath you and making sure that the people above you aren't getting so far ahead that the people on the bottom have no attainable way to make a living.

[00:16:15]>> Exactly.

[00:16:15]>> This film is just great at making that commentary in so many different aspects, characters, and its set designs, and oh yes, the set design. I can get back to my production design element. I was >> please.

[00:16:26]>> So, Demi Moore's character, Christy Smith, she lives in this towering building, this high-rise in the city that's on its side. So, anytime these characters are in her apartment, they are sliding down the side. They're trying to hold themselves up. She seems very much at home in this place, this lopsided building. And for me, I think that was actually a commentary on all these skyscrapers in New York City that are actually sinking.

[00:16:50]>> Oh, I mean, it could be. I was thinking I mean, it could it be any direction, but I was thinking the whole thing I said before of prioritizing aesthetic over actually like being able to use your home.

[00:16:59]>> Well, that's true, but also I think it has a larger commentary on this class divide that all this money is being spent on giving these rich people these extremely high high-rises, but not really focusing on the method in which they get that high-rise built. Leaning over in in so many different reflections. I think a reflection on how much you can rely on the people underneath you to prop you up until you topple over. And I think the side of the building being at an incline is that this is very shaky ground here. She is playing with fire, and she is slowly toppling over.

[00:17:33]>> One of my favorite things is when a film is is like really smart and has a lot of ideas, but also has low-brow humor and is really stupid and slapstick. And this movie definitely has a lot of that because aside from whatever we're making of the metaphor of the slanted apartment, it's really funny that like nobody can reach the front door.

[00:17:51]>> Yeah.

[00:17:51]>> Everybody is just trying to run up this apartment.

[00:17:54]>> coffee made for her every morning, and the coffee is like falling out the window. There's a um there's a great bit when she's giving an interview that there's a glass of wine that's on the thing that's just completely slanted and almost >> that.

[00:18:04]>> falling out of the glass. I love slapstick humor like that.

[00:18:07]>> On that specific note, I want to talk about Will Poulter's character. I want to go back to him because as the manager, towards the end of the film, we find out that he's not really as high up as he thinks he is. And I think that's a great commentary on the people that aided and abetted these very rich people. And there's multiple commentaries on this, especially with Kristi Smith's assistant in the film. As these people realize that they're really not as important as they think they are.

[00:18:30]And Will Poulter's character is relegated to showing up on livestream for this big fall fashion show where the entirety of the film he's talking about how excited he is to go to the show. So, the fact that he doesn't end up end up at the show, he looks pretty depressed on the >> Yeah, he looks yeah, he looks stressed out.

[00:18:45]>> And the the store is completely empty.

[00:18:47]So, there's just a lot to say about the people that enable these people to be able to exist in the first place.

[00:18:52]Because as we see in the film, it takes a village to prop these people up. These people cannot stay in power on their own. They can't stay rich on their own.

[00:19:00]That's one of the overall messages, I think, of the film is just our collective power is stronger than they make us think we are.

[00:19:08]>> To some degree, too, that rich people's success is completely on the backs of the working class and the the like working poor.

[00:19:15]>> and Chrissy Smith plays it off as if she's this bright mind towards the end of the film that built everything herself and she's just a smart and wise and she specifically says something to Corvette at one point like I'm supposed to be your inspiration to make it to where I am. And that's just so egotistical. This is crazy.

[00:19:36]Oh, on that note, I want to talk about the skin suit people because they're after all these expensive suits and then they find out it's like one of the most surrealistic moments of the film and they find this group of people who literally take their suits off and it includes their skin. It's kind of like this botlet mentality of how underneath their skin they're all the same.

[00:19:55]>> It's like a another great little bit of satire on the ruling class is that like they're like they're nothing without their skin which cost them $100,000.

[00:20:05]Like this idea of if you take their $100,000 suit off of them, they're just flesh and bone.

[00:20:10]>> Yeah. As we were talking about earlier, there's a twist in this film where this device is revealed that can teleport the clothing from one place to another. It's something that Chrissy Smith is working on doing so she can reduce her shipping cost. But this device actually does more things than just one. It can deconstruct moments and it could enhance or like move them forward.

[00:20:30]>> Yeah, I accelerate.

[00:20:32]>> maybe. Yeah, something like that. So once this device is introduced, I would say the film maybe slows down quite a bit and I think that's where the length becomes a little bit of a problem and I think that's probably where you could agree that you would chop down a few minutes of that.

[00:20:45]>> Yeah, probably like 10 minutes.

[00:20:46]>> Yeah, yeah, yeah.

[00:20:46]>> Yeah, it just felt like a touch shaggy.

[00:20:48]Even though there are some good jokes with this like the deconstructor, they zap somebody with it and then it just shows their parents having sex.

[00:20:55]>> Yes.

[00:20:55]>> Because them deconstructed is like their two parents having sex.

[00:20:59]>> And the accelerator did something to one of the friends where put her in like this first suit with these really giant boobs and like big nipples and she's but it's hilarious because like even while they're having the conversation she's just like rubbing the nipples.

[00:21:11]It's hilarious.

[00:21:12]>> They accelerated a police car and it became like a military vehicle. That was a great like little bit of commentary on like an over militarized police force.

[00:21:20]>> Oh, speaking of that this big chase sequence, it's done with like models and they put people inside the models. I imagine with green screen stuff. But it's just really hilarious because you could see the cheapness of it but the hilarity of it because it's specifically done that way.

[00:21:35]>> Yeah, totally. Like it feeds into the slapstick and cartoonish nature of things.

[00:21:38]>> Yeah. So it's just it's it's really great stuff. It builds this big moment towards the end of the film where Corvette's friend Mariah almost exasperatedly tells her, you know, there's things that she wants too and Corvette isn't paying enough attention to her needs. And I would say where someone could probably see this film and think of like where's the emotional connection between these people? I think that's part of the point. That Corvette is so invested in herself throughout the film she doesn't realize their strength in their friendship is actually more powerful than fighting it on your own.

[00:22:09]And I think we see a lot of that in today's especially digital world where we're also disconnected from our relationships or the relationships that we do have are so connected only by the digitization of them.

[00:22:19]>> Yeah.

[00:22:20]>> It's kind of like the slap in the face I think for an audience member as well.

[00:22:23]It's like where did this come from? But it's like oh, it's been there all along.

[00:22:27]She was really avoiding her friends and looking out for herself for her own interests. And she didn't realize she could attain her interest but she needed the power of her friendships to do it as well.

[00:22:35]>> Yeah, that's effective and I think shown by the end of the film where it looks like they essentially took all the clothes they had and made like a like a Goodwill store. This is actually in the earlier part of the film when they're selling stuff but they like there were people that are like oh my gosh, we couldn't afford back to school clothes without you guys and and things like that. So there's a charity element of it too. And I apologize. I was laughing a little bit while you were talking and it wasn't what you said was really lovely and sincere but I was thinking [laughter] about how at the end of the film she had introduced herself as Covasier. Bissy.

[00:23:03]So, which is like a mix of Issy and Covase.

[00:23:07]>> [laughter] >> Demi Moore is like ranting about it on TV saying that this person is to blame.

[00:23:11]It's a really simple metaphor, but I was really touched where this film ended that this giant ball of all these stresses about money has been following her around all of her life or all throughout this film and then it's so manageable now that these big structural changes have come about in the country she's living in that she can just pick it up and it's not so bad.

[00:23:30]>> Yeah.

[00:23:30]>> And we talk about money things like all the time obviously cuz we're a couple and I like really identify with that cuz I constantly feel this burden of oh this thing I want to do like can I afford this? Am I going to if I do this thing am I going to be able to afford XYZ? It really sucks to think that way and not to go on too much of a rant, but whenever in this country like when you think about going to the doctor it's like is this really worth going to the doctors and if I go to the doctor I'm going to have to pay $750 and this could be nothing.

[00:23:57]>> Yeah.

[00:23:57]>> And that financial burden of all those things really do weigh on your back the same way that it does for these characters.

[00:24:03]>> Yeah, I agree. I really related to that particular aspect especially with the ball getting smaller and smaller and then she can fit in her pocket. That was a great reflection of this gigantic weight and pressure and anxiety that was on her shoulders that once you kind of deal with it and whittle it away it becomes this thing that doesn't entirely disappear, but something you're able to manage with and carry with you.

[00:24:23]>> Yeah, I agree quote from that movie Rabbit Hole. Do you remember that movie with Nicole Kidman Dianne Wiest towards the end of that movie she talks about how grief is like this boulder at first and it like gradually becomes a pebble that's just in your pocket, but it's always with you.

[00:24:34]>> Are you ready to go to grades?

[00:24:35]>> I am. I am going to give this a B+. I think that again it's just like a touch shaggy. To some degree it's a little all over the place like it's a little chaotic, but at the same time I almost like admire that about it in some way.

[00:24:48]So, it's not a perfect film, but like I don't think you're going to see anything else like this this year at least like in this same with tone and in the same cartoonishness and the same like piercing bit of satire to tie it all together. Really great stuff. Had a blast.

[00:25:02]>> Yeah, I completely agree. I give the film an A minus. I really enjoyed it. I loved its rich world that it built with all these colors. I really loved the biting commentary with all these surrealistic elements. I enjoyed the characters even though they were more symbols of ideas rather than actual people. I think they were just a great reflection on where we stand today and I think that's really necessary in this particular type of film because you really are having a discussion about ideas and where we stand culturally. So, I just really loved all those elements of the film and I thought they just tied together so well. We didn't talk about the music in the film. So, I'm just going to mention that briefly, but it was so quirky, fun, and unexpected. It really matched these colorful tones and this rich atmosphere where we don't really totally know what's going to happen next because everything is so weird and bizarre and it just comes at you so quickly. It had no form to it. It was just completely wistful and random tones being played or keys or strings.

[00:25:59]It was just It was so out there, but it was really cool because it just fit and accentuated the tone of the movie perfectly.

[00:26:05]>> Yeah, the music is by a band called Tune-Yards, which I I have liked for a really long time. Their album Who Kill came out when I was in college and I've liked them and followed them ever since then and really enjoyed them. I'm paraphrasing something um somebody else said to me about this band a long time ago, but you can clearly tell that they're classically trained just like the way that they use horns and strings in their music, but they're also clearly just like deconstructing the whole thing and going for a more like chaotic and very off-kilter sound, but I have Yeah, I have a lot of respect for them and I thought they brought a lot to this film.

[00:26:34]>> All right, so that's our review of I Love Boosters. I Love Boosters is now in theaters, so if you haven't seen it, be sure to go check it out. Let us know in the comments, what did you think about this film?

[00:26:42]>> [music] >> As always, thank you guys for watching and we'll see you next time.

[00:26:50]>> I'm a G.

[00:27:00]I'm a G.