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PARK CITY – Even if you are intimately familiar with Boots Riley’s musical career and progressive politics it cannot prepare you for his bold directorial debut, “Sorry To Bother You,” which premiered at the 2018 Sundance Film Festival on Saturday night. Even if you read the official synopsis that informs you the film takes place in an alternate reality and it’s classified as “Sci-Fi” and “Fantasy,” you are not prepared. Even with the advantage of reading this review, you are not prepared. And, yes, we’re aware there are very few motion pictures that earn that sort of intended praise.

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The surrealistic tale takes place in another version of Oakland, California (a popular locale at this year’s festival) where Cassius Green (Lakeith Stanfield, an actor) has just swallowed his desperate pride to land a job at a slimy telemarketing firm. He’s been living in the garage of his Uncle Sergio’s home (Terry Crews, in and out) and is barely making ends meet. Detroit (Tessa Thompson, along for the ride), his girlfriend, makes her living spinning signs on street corners, but is more focused on her performance art than earning a serious living.

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Pretty early on, however, Riley introduces WorryFree, a corporation that signs employees to lifelong contracts for guaranteed wages and on-site housing. Managed by its ruthless CEO Steue Lift (Armie Hammer, spot on) it’s pretty much slave labor with a modern day corporate makeover. But, we’ll get back to that horror in a second.

At the telemarketing firm Cassius makes friends with Squeeze (Steven Yeun, the more the better), a secret union organizer, and Langston (Danny Glover, solid), a veteran caller who gives him a tip about how to succeed at calling: speak like a white man. Granted, it’s not any Caucasian voice, mind you, but one that literally sounds like the caller has no cares in the world (Joanne the Scammer’s “Caucasian Living” has never been so apt). When Cassius finds that voice it sounds like David Cross, because Riley actually has the “Arrested Development” star dub Stanfield’s voice. With that “new” voice at his disposal Cassius becomes a calling sensation selling one set of worthless books and products to one dumb customer after another. Meanwhile, Squeeze is formulating a plan to demand fair wages and benefits from the telemarketing firm. Cassius commits to join the cause, but when they confront their bosses he gets a huge surprise: he’s getting promoted to the Top Floor.

Cassius has no idea what the Top Floor is, no one really does, but he knows that their employees have a private elevator, are always immaculately dressed and appear to make a lot more money than he’s currently making. When he commits to the job he ends up breaking ranks, but justifies it as a “new” gig that has nothing to do with his now old co-workers struggles. When Cassius reaches the gorgeous offices of the Top Floor he meets Mr. (Omar Hardwick, works) who, surprise, also has a white voice (Patton Oswalt). He soon learns that the Top Floor’s callers are making millions selling Worry Free’s slave labor to different countries around the world. After making a quick $10 million sale Cassius finds himself living in a gorgeous new apartment and driving a slick new car. All he has to do to keep it going is cross the growing picket lines of the striking telemarketers downstairs. That’s the final straw for Detroit, but Cassius is so addicted to his new income he can’t quit.

Now, first off, you might think this review has already given away too much of the movie. Trust me, you simply can’t imagine the twists and turns to come. Secondly, in this context the movie doesn’t sound that “out there,” does it? We won’t spoil it, but when Cassius is invited to an exclusive party hosted by Worry Free’s CEO the film goes in directions that should completely derail the narrative, but somehow make Riley’s thematic metaphors even more pronounced.

As you might expect, Riley has a lot he wants to convey in the picture. He makes pointed statements on the hypocrisy of not only the government, but also its dumbed down masses. He mocks the ineffectiveness of activist art. He portrays corporate America as so greedy and inhumane that you quickly realize we’re not that far way from living in this “alternative reality.” Unfortunately, what doesn’t work is much of the humor and considering some of the comedic talents involved, that’s somewhat disappointing. In fact, one of the few lines to get a big laugh at the film’s premiere (“like Will Smith whiteness”) was the context of Smith’s wife, Jada Pinkett Smith, sitting in the audience as a member of dramatic competition jury. Too many of the jokes fall flat and as the film moves forward you’re so captivated by the bizarre plot twists that recognizing the humor becomes secondary.

There simply isn’t much more to discuss without spoiling the imaginative scenario Riley has presented to the world, although production designer Jason Kisvarday deserves substantial praise for creating an environment that is just one step away from today. Beyond that, we only suggest you prepare yourself for something truly unexpected. [B+]

Click here for our complete coverage from the 2018 Sundance Film Festival