This review contains spoilers.
Given the lengthy history of the craft, it is no surprise filmmakers appear to be having an increasingly difficult time coming up with purely original storylines. Many movies rely on inspiration from their predecessors, using bits and pieces to create new Frankenstein-esque films.
While this year of film has been, in my opinion, one of the strongest in recent history, my search for a wholly original film persisted until the release of “I Love Boosters” Friday.
Written and directed by Boots Riley, a director known for his eccentric perspective on bridging film and social commentary, “I Love Boosters” follows a group of women, known as the Velvet Gang, who “boost” — or steal — from high-end designer chain Metro Designers. As the group becomes deeply embroiled in the fashion conglomerate’s inner webs, the truth gets tangled.
Being familiar with Riley’s work, I knew to expect the unexpected. But nothing could have prepared me for this film. From demons hiding in plain sight to teleportation to an army of people who wear skin suits, twists and turns await around every corner.
Visually, the film is incredibly appealing. The set design and costuming have kitschy vibes, making the movie feel dream-like. Riley uses bold monochromatic colors paired with heavy maximalism to create scenes that feel immersive.
The costumes, in particular, stood out thanks to their elaborate and intricate nature. Naturally, the boosters’ outfits are on par with the high-end stores they steal from. Costume designer Shirley Kurata truly went above and beyond curating clothing that not only entertains and delights the audience but also has an effortless and effective role in enhancing the overarching storyline’s drama.
Casting closely follows costuming in bolstering the movie’s success. A star-studded cast does not always mean a movie will excel, yet this could not be further from the truth for “I Love Boosters.” Three members of the Velvet Gang are portrayed by powerhouse actors Taylour Paige, Naomi Ackie and Keke Palmer.
The trio’s banter is impossible not to enjoy. They balance one another out perfectly, and I would be strongly in favor of them collaborating again in the future.
Rounding out the cast are the supplemental performances of Demi Moore as Christie Smith, the film’s antagonist, LaKeith Stanfield, a past collaborator of Riley’s, Will Poulter and Eiza González.
Both Stanfield and Poulter are perfect in their roles and serve as comedic relief. Stanfield, who portrays the Pinky Ring Guy, has several notable moments in the movie, all of which are accompanied by a haunting theme in the score. González portrays an employee at Metro Designers who eventually becomes the catalyst for the company’s employees unionizing.
González does a wonderful job embodying this role, balancing wry humor with dedication to the cause and serving as a great transition into the offbeat social commentary that characterizes Riley’s films.
In “I Love Boosters,” Riley explores the exploitation of the fashion industry and the lengths people are willing to go to embody what is “trendy.” Metro Designers’ success as a business is directly linked to its use of cheap labor and unsafe working conditions in China-based factories. When the garment workers protest, Smith strikes them down, intensifying instead of lessening their workloads. Smith’s actions culminate in mass protest globally, a choice that paves the way for the secondary aspect of social commentary — collective action.
The film’s final moments feature a montage of real-life footage from protests around the world, indicating the power movements possess when they act as one. The commentary is particularly topical, given rising conversations surrounding fast fashion and its environmental and community impact. I appreciated the care Riley gave to fleshing out the commentary.
Riley’s mind is something no one can prepare for — no matter how hard you try. There will be jaw-dropping moments of shock, awe or confusion, but above all, “I Love Boosters” is one of the most innovative movies of the year, and recent history, and it must be viewed with a curious mind and a readiness to sit back and be amazed.
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