抱歉打扰

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。

看到这个韩国人演的黄种人领导罢工，我就非常的敏感想到，码的美帝又再黑“黄种人”，因为没有找到证据这个黄种人是中国人，只有一句“中国人发明的意大利面”什么的。

文采不好，不要介意。

这个黄种人一身的“鸡贼，领导和山洞黑人罢工”

这个黄种人不讲“朋友之妻不可欺”，勾引黑人主角的女朋友，还遭黑人女朋友一脸嫌弃。等等

真为这个韩国男演员感到丢人。

勾引朋友之妻、还遭一脸嫌弃

领导和煽动罢工，美国白人憎不憎恨

第一个站起来罢工的黄种人

恨不恨黄种人，咋那么可恨呐

可爱的有点傻的黑人被煽动

连黑妞都对黄种人一脸嫌弃，醒醒吧，黄种人

美国人的电影里对中国人，黄种人固有的一种歧视，在影视作品中连黑人都不如。

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。

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。

看这片前被严重剧透了，所以，所有本来该有的惊喜，都变成了验证：哦，原来马人是这样的啊......。

anyway，即使被严重剧透，也不妨碍这部片本身的惊喜和价值。全片以荒诞的方式，涉及到很多严肃的关键词：种族歧视，罢工维权，资本剥削，政治统治手段，刻板印象，阶级......

片中最荒诞之一幕是男主被逼唱rap，因为黑人都会rap。后面那段黑鬼黑鬼的rap，更是无比荒诞好笑。更荒诞好笑的是片尾男主从缝隙往外看，看到马人冲来冲去打来打去。

这部看起来荒诞无比的黑色喜剧，其实隐藏着很多严肃的问题。种族歧视可能是全片最亮眼的一面旗帜，连马丁路德金都被拿出来黑了一把。但实际上，全片最有价值的观点可能是，你以为的反抗，可能是被期待甚至被允许的。如同孙悟空之于如来佛祖的五指山。相对于奴隶制而言，种族歧视只是一个分支。

电影提出了问题，但我似乎没看到给出什么解决方案，可能也真的给不出。所以片子最后，以为获得自由的男主，终于变成了马男。这个结局，很惊艳，更是细思极恐。

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).