'I Love Boosters': A Wonderfully Chaotic Social Satire

PHOTO: NEON

When Boots Riley’s debut feature, Sorry to Bother You was released in 2018, I was stunned by how unique and visually striking it was and left the theater excited for his next film. What I didn’t know was that I would be waiting 8 years, although he did release the somewhat underrated series I’m a Virgo in the interim. Thankfully, his sophomore feature, I Love Boosters is well worth the wait, providing the same stylish maximalism he has become known for as well as his trademark political commentary. There is also a lot going on throughout the film, as Riley unspools a lot of plot threads and keeps everything moving at a breakneck pace. It is certainly a lot to take in and can feel a bit disorienting at times, but I Love Boosters is destined to be the most original and creative film of the year, and once again proves that nobody makes movies like Boots Riley.

Aspiring fashion designer Corvette (Keke Palmer) and her friends Mariah (Taylour Paige) and Sade (Naomi Ackie) make a living shoplifting clothes from a chain of clothing stores called Metro Designers and selling them at discount prices. The trio, known as The Velvet Gang, draws the ire of the fashion designer Christie Smith (Demi Moore), who runs Metro Designers. One day, Corvette sneaks into Christie’s office and overhears her talking about $100,000 suits being kept at the stores. Hoping to make a big score, she enlists Mariah and Sade to pull off a heist and take down Christie once and for all.

Much like literally everything Boots Riley has done, the film is unapologetically political. Boosters spends much of its run-time critiquing capitalism and pointing out the inequities that it causes. Riley is not subtle with this at all, but he still delivers the points and observations he seeks to make exceptionally well while avoiding coming across as preachy. The directness of the film’s political commentary might be a bit much for some, but I personally think it works well within the patina that Riley’s work occupies. It complements the surreal aspects of the film nicely, delivering that distinct fusion of style and storytelling that Riley has become known for. 

The film also shows that Riley is an excellent visual stylist, acting as a step up from the already impressive work he turned in on his previous feature. The use of color alone is great, namely in the monochrome colors used for the Metro Designers stores throughout the film. There are so many things that pop throughout the film, whether it be the borderline cartoonish imagery that recurs throughout the film, the use of stop-motion, or the excellent costumes. It may be too early to call, but I could definitely see this film earning a Best Costume Design nod at next year’s Oscars. There is such ingenuity and detail to all of the costuming, and is easily one of the best things about the film. 

Boosters also boasts one of the strongest ensembles of the year thus far, led by a wonderful Keke Palmer. Palmer uses her comedic chops effectively throughout, all while balancing it with a realistic drive that grounds her character a bit. Taylour Page and Naomi Ackie are also quite good, each matching the energy that the film is on perfectly. All three have become some of my favorite actors working today, and they all do superb work here. I also have to give Poppy Liu her flowers, as she is rather magnetic and commands the screen when she appears. Will Poulter, Demi Moore, and Don Cheadle also shine in smaller roles, with all of them fully committing to the specificities of their respective characters and getting some good laughs in the process.

My one complaint is that the film tends to feel a bit overstuffed. This isn’t too surprising considering that Riley’s other work has the same issue, but it feels a bit more prominent here. It could be due to the pacing of things, but it is also clear that Riley wanted this film to be bigger than anything he’s put out to date. Some plot threads feel a bit extraneous, namely the one involving LaKeith Stanfield, and there could be a bit more development in certain areas of the screenplay in general. It kind of feels a bit dizzying at times, but it ends up being part of its charm. The film is a wild ride, but it ultimately feels worthwhile despite its flaws.

You would be hard pressed to see a film like I Love Boosters this year, both in terms of originality and quality. It is excellently crafted, stylish, and timely, making for a one-of-a-kind experience that certainly makes an impression. It is a wild, incisive, and funny film that acts as a showcase of Boots Riley’s style and sensibilities and is engrossing from start to finish. It might be a bit much for some viewers, but it is hard not to be drawn into its chaotic nature and its surprising endearingness.

Rating: 4/5