抱歉打扰

影片所表现出的，

生活的骨感，

人与人之间的倾轧、剥削，

以及，人在利益面前 无处安放的道义 与 颤抖着的良知……

影片所展示出的社会，让我愤怒。

却也感到无力。

万恶的贪婪之心。

那些恶毒的资本家，恐怕从来不曾识得“良知”二字吧。

底层人们为了生计被迫出卖了人权，被迫出卖了尊严，被资本肆意打脸的同时，却还不得不向资本谄着脸。

一个足够健康文明的社会，绝不应该走到那一步。

如果真的不幸走到了那一步，毫无疑问，一定会有战争的。人被逼急了，什么事干不出来呢。

一个让人看不到希望的资本社会，人们活着不会感到开心，不开心就没有意义可言，没有意义就会不想活，就会想到死亡，终于想到死亡后……如果连死都不怕，那活在这世上还怕个什么呢？

尽管去跟那些早已扭曲了人性，沦丧了道德的万恶资本家干吧！

另，作为一个从小生长在 知书明理、恭谦儒雅、教化文明 的中华大地上的孩子，电影中的某些西方娱乐场面，实在让人不敢苟同。低级趣味，尽展兽性。

看完这片儿心情略复杂，

只想代表正义消灭那些不要脸的人形畜生。

我特别喜欢鬼扯的电影，就好像我喜欢鬼扯的人，就好像一部电影里莫名跳出来的马人或者外星人，却让人脑洞大开，啼笑皆非的同时发现原来你的用意如此明显。

让人挺开心的 即使它是一部具有讽刺资产阶级斗争的电影，即使把人变成马还提高社会生产力，即使毫无人权的那一类人更为嚣张，即使这个电影里的社会是虚构的，但他也许是跟我们的现实拥有共通之处，不是吗？

经济社会好像在往坏的地方走，在经济总量越来越高的时候，人们的自由度越来越低，人们的眼界越来越低，永远停留在物质欲望的基础上，随大流去面对这个物质社会。

三毛说游戏人间是她的生活目的，结果她自杀了，海子说从今天起我要做一个幸福的人，他也自杀了，川端康成，太宰治，人生的幸福问题是我们千百年在思考的，生命的珍贵在于我们可以提早选择结束，在于我连自己的生命都有权利选择，为什么我的思想观不能自我选择，人类的共识在于思考是人类的本质。

决定论里说人的一生终有安排，没有独立的偶然的结果。自由意志论说世界与人是有偶然性的，是有自我觉醒的自我决定。

你有没有想过死

有时想过，因为有时活着

有时死了，才会想活

有时觉得自己很可怜，有些卑鄙，有些懦弱，还有些奸诈。我没吸过毒，但好像别人的描述，感觉自己像个有克制力，心智很强的能人。能抵制一切诱惑，但恰恰正式开始，站着挣钱真难。

记得以前有个让我开窍的老板，原话我记不住了，意思是{我们是这个市场的风向标，要么帮助客户走向市场巅峰，要么帮助他走向衰亡，没有第二个选择。}是呀，我们只是催化剂，只是辅助，只是客观的影响，但真的如此吗？如此。

我不认为这是喜剧，没有一点怪诞，夸张只是艺术延展，让矛盾更明显，冲突更激烈。值得。

American Hip-Hop artiste Boots Riley’s debut feature film, “Sorry to bother you!” is the de rigueur opening line for a telemarketer, before he/she might or might not have the chance to heap on their stick-to-the-script coaxing patter. The movie starts when our young hero Cassius Green (Stanfield, a multi-faceted leading man in the making) is applying for a telemarketing post in the RegalView Company in the present Oakland.

Although the telemarketing business Riley presents is nothing but the usual business, teemed with profit-seeking brainwash and phony blarney, yet, enlightened by an elderly co-worker Langston (Glover), Cassius finds a knack of mimicking a “white voice” (voiced by an oleaginous David Gross) to excel in his trade, and before soon he is elected to join the exclusive echelon of “power caller”, situated on a luxurious suite, equipped with its own elevator and ludicrously long passcode for admission.

Whereas Cassius is overwhelmed by the lucre a power caller can earn in their sordid merchandizing of weaponry and human labor, the latter is associated with WorryFree, a company offering a lifetime work contract for those strapped, viz. a modern remodeling of slavery, he consciously distances himself from the union demonstration organized by his lower-ranking co-worker Squeeze (Yeun, unostentatiously exuding charisma and coolth), to seek wage increment for entry-level employees, which triggers dissension between his artist girlfriend Detroit (Thompson, a kaleidoscopic force of propulsion) and his best friend Salvador (Fowler), both stick with Squeeze’s noble cause.

Facing the temptation of a life on the easy street, it is only naturally for a young man like Cassius to lower his moral compass and jump to it, only wait for an absurd kicker to wake him up. When our bright-young-thing is invited to a party hosted by the CEO of WorryFree, Steve Lift (an open-faced Armie Hammer doing his most eloquent persuasion of a beggar-belief proposition), an unexpected encounter with several horse-human hybrids, named Equisapien, jolts Cassius out of his own senses, afterwards, he can barely sit through the tête-à-tête (after a quaint claymation paying tribute to Michel Gondry), where Steve proposes a lucrative deal for him to assume the role as a figurehead among Equisapiens, the more profitable vessel of future labor (Martin Luther King, Jr. gets some sideswipe here), on the premise of taking the body transmogrification himself for a five-year span.

Hard to imagine anyone would be loopy enough to take that bargain, which only prompts Cassius to expose WorryFree’s conspiracy on the live TV, following by riots and hubbub (economically shot from Cassius’ compromised viewpoint inside a police wagon), when the dust settles and a renewed future with Detroit beckons, Riley mischievously actualizes Cassius’ worst apprehension in the final reveal, sending his wise counsel, never toot a stranger’s offering.

In the wake of today’s woke, and post-GET OUT climate, it is heartening to witness many a black artist visualizing their pet projects into fruition (SORRY TO BOTHER YOU predates as a concept album of Riley’s band The Coup), in Riley’s case, his first sortie is a blistering mishmash of ideas, tropes and satires, slightly disorganized but invigorating nonetheless (catalyzed by a wonderfully multi-ethnic cast), that bodes really well.

referential entries: Ruben Östlund’s THE SQUARE (2017, 7.9/10); Jordan Peele’s GET OUT (2017, 7.3/10).

现在的电影已经可以这么荒诞了么？不过要是后面不这么荒诞的话，可能是不是就会感觉到这是一部太过于“正常”的搞笑电影，就没有那么有意思了，看到现在的电影市场为了找到观众的G点，也是用尽了脑子。

一开始的时候，男主打电话放不下面子，后面使用了控制人声音后，会说了sorry to bother you .这句开场，可是看到后面，你就会感觉到，这句sorry ,不是说给对方听的，是对自己这么无能的一种自嘲。

有几个点，，一个是开会的时候，男主的黑人朋友的可乐是装在衬衣胸前口袋里的。Cool。一个是女主一开始和男主在车库里做的时候，就没有感觉到不爽，只是会有人说句：go get a room 的时候，才会感觉到无助。一个是明显人家接电话的女士是在和别人啪啪啪，自然是不会听你来推销的，不过，那会他还太年轻，白人声音，的效果做的实在是太差了，五毛特效。男主后面有钱了后的那个房子是不是真的啊，感觉风景好极了。马男这事，纯粹是为了搞笑的吧。

The first half is too long and not well-paced. The second half is the key part, but the plot lacks credibility. The two halves seem to be neither cohesive nor consistent. Overall, this film is an audacious but failed attempt at the discussion of capitalism. A much better satire was Kubrick's Dr. Strangelove.