‘I Love Boosters’ review: Keke Palmer goes crazy in Boots Riley’s new sci-fi satire

Nobody makes movies like Boot Riley. A creative American filmmaker who had critics clamoring for his mind-bending debut of 2018. Sorry to bother you he came back with I love Boosters, an unabashed anti-capitalist satire full of spectacle and brutal fashion.

While the filmmakers came out February’s Berlin Film Festival aims to avoid politics in promoting their work, SXSW it started with an opening night film that uses car chases, teleportations, moving monsters, and a sprawling story about shoplifters to raise a big, subtle middle finger in protest at a capitalist society that treats workers’ rights and presents itself as luxury.

With a dynamic cast that includes Keke Palmer, Naomi Ackie, Taylor Paige, Poppy Liu, Eiza González, Will Poulter, Demi Moore, Don Cheadle, and LaKeith Stanfield, Riley delivers a sophomore effort that is provocative, provocative, and truly delicious.

What I love Boosters all about?

Written and directed by Boot Riley, I love Boosters centers on a trio of “boosters,” known as the Velvet Gang, who steal designer clothes from chic boutiques and resell them at discount prices. But each of these developments has its own motivations for this risky version of business. For single mother Sade (Ackie), it’s all about the money, either through a boost or through a pyramid scheme called Friends Being Friendly. He is determined to buy a better life for his children, no matter what the cost.

Meanwhile, chipper Mariah (Paige) sees their group as “fashion-forward philanthropists [sic]” who give back to their community by making amazing affordable gear. (Yes, you know philanthropy isn’t spelled with an “f” — but “brand, though.”) Then there’s Corvette (Palmer), a fashion designer who dreams of becoming a top designer like her idol, Christie Smith (Moore). This sharp-eyed executive runs a one-month-only, one-color, one-color clothing line. the design of stores with violent colors that offer fast I love Boosters cartoon madness.

Annoyed by the paraphernalia that raids his stores, Smith declares war on the thieves he calls “low-class urban dogs – all of which are respected by urban scumbags.” From there, the Velvet Gang ups their game with the help of new henchmen, who are less interested in reselling designer duds than starting a labor rights movement against Smith’s sweatshop industry.

Along the way, they’ll pack not only a bunch of eye-popping costumes and cute wigs, but also an ultra sci-fi device that can create, transform, or teleport anything from clothes to sloppy people to shiny goo. And without spoilers, I can say that if you thought horse people climax Sorry to bother you was a strange experience, you’ll be entertained by the way supporting actors like Don Cheadle, Jermaine Fowler, and Jason Ritter play in the chaotic climax.

Keke Palmer is a shining star I love Boosters.

Don’t get it twisted. Palmer had a great career with great performances that showcased his irresistible charm and kinetic screen presence. But usually in movies, he’s a favorite (Good luck, Pickup) or part of a double action (No, One Them Days). While I love Boosters is about the Velvet Gang, of course Corvette is its protagonist, and Palmer is its star.

Riley gives this room dynamo a go. From the opening frames, cinematographer Natasha Braier follows Corvette as she swims around the dance floor, cool and confident. Braier zooms in on her for longing shots, such as when Corvette crosses paths with a mysterious man (Stanfield) so hot that her close-up POV from Corvette’s point of view moves in the frame. It’s as if we can see his short mind as he takes the Prince-like curls hanging from his face towards his attractive, smudged eyeliner, his soothing voice, and his smoky speech that make this man a dangerous distraction in his promotion campaign.

But humor lives in a wider area. So in scenes of heart-wrenching body antics — like when the Corvette tries to get out of Christie’s penthouse, where the floor is at a 45-degree angle — the full-bodied Palmer gives up a little. Whether he’s falling flat on his face, running like a cartoon runner, or running away from a walk-on in a velvet tracksuit full of stolen goods that makes him look like the pink Stay Puft marshmallow man, he’s doing comedy on the level of Charlie Chaplin and Buster Keaton, getting down to business without blinking.

From there, fashion designer Shirley Kurata built Corvette’s desire to be a fashion designer into every look. Palmer is wrapped in turquoise vinyl, Harajuku streetwear, ’90s club kid gear, and bright yellow outfits. Other actors may be overwhelmed by the many looks, but Palmer wears them with ease, expressing the love of the Corvette with every step.

And it may go without saying, but no one hits the punchline like Palmer. Not only is his take on Riley’s dialogue hilarious. One line in the film’s final sequence earned a roar of laughter that turned into cheers and applause. It’s great to see the film give Palmer such a well-earned performance – especially the one where he cheats on screen with Moore, whose own is a wonderful performance. Something became a surprise awards season contender. It is possible I love Boosters the same climb? I would like to live in that world.

I love Boosters it’s full of laughs, twists, and killer supporting characters.

Palmer drives this wild ride, but every actor around him is completely on board to get a good look at Riley. Ackie breaks down in tears, playing everything from the honest cop (Thursday Murder Club) red soldier (Mickey 17) to a caring best friend (Sorry, Baby) to a girl who wants revenge (Click twice). Here, she’s the tough love in the Velvet Gang, bringing an intensity and determination that contrasts with Palmer’s dreaminess and Paige’s constant panic. Watching Paige sport gray nipples in a big soft nude suit while everyone else has a heated argument is a lesson in low-key comedic genius.

Kinetic Poppy Liu dives into the fun with a side quest full of color, real-world horror, and high-energy action. Eiza González boils and shudders as the union-minded shopgirl, while Will Poulter is an absolute villain as her noble, ruthless boss. Stanfield thrives as hot eye candy, but he’s at his best when that subplot turns completely devilish. Then there’s Moore, who paints a sickening picture of America’s economy and privilege.

Moore delivers monologues about art over commerce with such conviction that you might be tempted to believe Christie Smith’s sales pitch. But Moore also delivers snarls that send shivers down the spine. And many of the scenes in her special stilted house (probably inspired by a real low-cost high-rise) reveal her fashion sense as a joke.

There is an equally sharp critique of the politics of the wage gap, as Corvette and Sade prepare for their insanely short lunch break by putting their feet on the starting blocks, ready to literally run for a living. And with each over-the-top gag, Riley scares his audience. He presents our world with its worst and best exaggerated bits — like a certain MacGuffin in this movie. And with that, he urges us not only to think about the absurdities of our society, but also how we can dream something better and bolder.

I love Boosters plays like a fever dream. Its story turns into tangents, with subplots buried beneath series pieces and larger concepts. It’s undeniably dirty, throwing in new characters, a weird plot, and an incredible volcano of still images. But I wouldn’t have it any other way.

Riley doesn’t just reject the status quo of American capitalism with his films. He rejects the neat boxes filmmakers are urged to fit their stories into to make them marketable, be it the boxes of form or genre. Like the fashionistas in the film, Riley unapologetically embraces whatever suits her opinion. By bringing something dirty and wonderful, Riley makes a statement about the glory to be found outside the box. And make no mistake: I love Boosters it shines.

I love Boosters reviewed at SXSW. The film opens in theaters on May 22.