{"id":153,"date":"2026-05-22T11:40:32","date_gmt":"2026-05-22T11:40:32","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=153"},"modified":"2026-05-22T11:40:32","modified_gmt":"2026-05-22T11:40:32","slug":"i-love-boosters-reviewed-a-socialist-surrealist-shoplifting-fantasy","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=153","title":{"rendered":"\u201cI Love Boosters,\u201d Reviewed: A Socialist-Surrealist Shoplifting Fantasy"},"content":{"rendered":"
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One of the most famous scenes in \u201cThe Devil Wears Prada\u201d has always rung false to me\u2014the one in which the editor Miranda Priestly lectures Andy, her unfashionable new assistant, on how trends trickle down from big-name designers\u2019 exotic creations to Andy\u2019s bargain-basement casuals. What Miranda\u2019s bravura monologue misses is the upward flow of style from the streets to the runways, the power of vernacular fashionistas to inspire haute couture\u2014in other words, you could say that it ignores the dialectic. But this very idea is at the heart of a new fashion-focussed film, Boots Riley\u2019s \u201cI Love Boosters,\u201d an exuberantly inventive but overstretched comedy about the redistribution of luxury goods and the chic that goes with them.<\/p>\n

Read more Why Is It So Hard to Be Ordinary?<\/a><\/p>\n

For starters, Riley offers a heist movie, set in the Bay Area, centered on a trio of women \u201cboosters\u201d\u2014shoplifters who resell their wares\u2014known as the Velvet Gang. Each member has her own motive. Mariah (Taylour Paige) wants to start a movement called Fashion Forward Filanthropy. Sade (Naomi Ackie), who has children, needs the money. Corvette (Keke Palmer), the leader of the pack, is an ambitious designer who wants a foot in the door. The movie opens with Corvette luring a man from a club to her apartment\u2014which is more of a showroom, where she intends not to seduce him but to sell him a pair of shoes. She\u2019s got loot from all sorts of places, but the gang has one main target: a chain of street-glam stores called Metro Designers, owned and run by a celebrity designer named Christie Smith (Demi Moore).<\/p>\n

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This setup is built along color lines, both racial and otherwise. The Velvet Gang\u2019s members are Black, and their heists involve the partnership of a white woman who serves as a decoy, by monopolizing salesclerks\u2019 attention and leaving the threesome free to slip out with loads of merchandise. (In one of the film\u2019s many flamboyant gags, Corvette stuffs her sweatsuit full of items, waddling through the parking lot like a Michelin Man in pink.) Christie, who is white, takes to local TV news to inveigh against the boosters, deriding them as \u201clow-class urban bitches.\u201d The remark fills the trio with righteous rage, and makes them all the more determined to swipe from her stores.<\/p>\n

Christie is preparing to launch a mysterious new line of suits, at a hundred thousand dollars apiece, a plan that the three women catch wind of when Corvette actually manages to get a foot in the door\u2014by sneaking into Christie\u2019s apartment. This inner sanctum of fashion is situated, wondrously, in a sharply leaning San Francisco luxury tower (based, as Emily Nussbaum reported in a profile of Riley for this magazine, on the city\u2019s actual, slightly leaning Millennium Tower). The resulting scene is spectacular, with the apartment\u2019s inclined and polished floor giving rise to physical comedy of absurdist pathos in the vein of Jerry Lewis, and Corvette\u2019s frantic struggle for traction revealing the earnest undertones of her fraught visit.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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As an aspiring designer herself, Corvette has a complex relationship with Christie: infuriated though she may be by Christie\u2019s racist and classist condescension, Corvette also considers her a creative idol. Corvette lives in an abandoned fried-chicken restaurant that she has converted into a studio, where she passionately turns out samples and designs. She dreams of a career in fashion\u2014she admits to Mariah, \u201cI\u2019m even lonely when I\u2019m with people,\u201d but adds, \u201cWhen I\u2019m designing, I feel like I\u2019m touching the world\u201d\u2014and she has submitted a design to a contest that Christie is running. So there\u2019s some serious fangirling involved in Corvette\u2019s pre-heist stalking of Christie\u2019s home, not to mention some calculated self-promotion: she shows up in the tilted apartment wearing an elaborately crafted gown that she designed and made. Seeing the dress, Christie delivers a high-handed verbal riff\u2014reminiscent of the trickle-down speech in \u201cThe Devil Wears Prada\u201d\u2014on whether it\u2019s turquoise or aquamarine.<\/p>\n

\u201cI Love Boosters\u201d is quite literally a colorful film, an exhilarating splatterbox of unnatural and acidulous tones. For one thing, Christie\u2019s commercial empire runs on an inspired gimmick: each of her stores offers clothing in only one color per month, with d\u00e9cor to match, and the wall-to-wall uniformity gives the shops the look of movie-musical sets. But Christie\u2019s color sense seems to derive in part from her eye for what\u2019s happening on the streets, because the members of the Velvet Gang are artists in their own right, bringing a jubilant sense of freedom to their own outfits, which feature harmonious clashes of colors, textures, and shapes. (The film\u2019s ingenious mix-and-match costuming is by Shirley Kurata.) And it turns out that Christie is doing more than just gleaning ideas\u2014she\u2019s stealing them outright, as Corvette discovers when she finds an item for sale at Metro Designers that looks just like a design that she posted on Instagram. Thus, the Velvet Gang\u2019s great revenge tour begins: the women plot not just to steal a trove of garments but to clean out a store\u2019s whole stock, and they soon meet similarly aggrieved allies who are ready to join their quest.<\/p>\n

Read more How Good Is This World Cup Squad, Really?<\/a><\/p>\n

Call it a campaign of redress, pun intended, for injustices committed with impunity up and down the fashion supply chain. Ideas aren\u2019t the only thing that Metro Designers is stealing. The stores\u2019 monthly merchandise overhaul proves to be a wage-theft scheme, because the salespeople are required to buy and wear the company\u2019s latest offerings, leaving two young employees, Violeta (Eiza Gonz\u00e1lez) and Mansion (Najah Bradley), with paychecks of about forty dollars. The clothing, meanwhile, is made in a Chinese sweatshop, whose oppressive and dangerous working conditions Riley depicts in flashbacks and interpolations. The arrival of a woman who works in the sweatshop, Jianhu (Poppy Liu), jolts the story into a new direction, and even a new dimension. Jianhu got to the Bay Area by way of a secret high-tech Chinese-government gizmo that she purloined from the sweatshop\u2014a teleporter, she calls it, which the factory manager had planned to use to beam garments across the seas to avoid shipping charges. The device plays a major role in the heist that follows, and takes the film beyond the realm of a style-crime caper into political science fiction.<\/p>\n

Riley breaks his narrative frame to pile in an inspired cornucopia of genres and plotlines, moods and tones. The movie is something of a live-action cartoon, as when Corvette, struggling to climb Christie\u2019s slippery floor, revs her legs like Road Runner\u2019s, and when a giant ball of bureaucratic papers, including an eviction notice, rolls menacingly toward her when she feels stressed. Along the way, there\u2019s a self-help satire involving Dr. Jack (Don Cheadle), a motivational speaker who\u2019s actually running a pyramid scheme. There\u2019s a horror-movie thread involving a suave seducer (LaKeith Stanfield) who turns, involuntarily, into a supernatural sexual predator. There\u2019s creative lampooning of workplace indignities, with store clerks\u2019 thirty-second lunch break staged as a sprint at a track meet, in sped-up motion. There\u2019s skewering of the media, in TV news segments that spotlight apparently random people, most of them Black, as talking heads for right-wing positions. (One woman, for instance, complains that rent control curtails her freedom to pay higher rent.) And the teleporter turns out to have additional uses, as a \u201csituational accelerator\u201d that employs dialectical materialism to heighten the contradictions of whatever it\u2019s aimed at, and as a \u201cdeconstructor\u201d that\u2019s effectively a time machine, returning its targets to prior states of being.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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These hyperbolic fantasies of socialist surrealism are often exhilarating, but Riley\u2019s wild spectrum of images and ideas doesn\u2019t fit readily into a clear critique. In his prior feature, \u201cSorry to Bother You,\u201d he shaped the story\u2019s surreal elements to address the quasi-apocalyptic implications of unhinged profit motives, inhumane technology, and unmitigated racism; the result was a pointed vision of techno-fascism. In \u201cI Love Boosters,\u201d he doesn\u2019t quite pursue his strongest impulses to their logical conclusions. Some scenes and details play like they\u2019re there to check off boxes for each of the featured genres, such as a hectic car chase of little originality and a further expansion of the teleporter\u2019s powers to seemingly limitless, and therefore just about pointless, possibilities. As clever and eye-catching as Riley\u2019s imaginative extravagances are, he too often relies on them to resolve story lines with a hand-waving facility.<\/p>\n

\u201cI Love Boosters\u201d is ultimately suspended between competing desires. Riley conjures vivid characters\u2014especially Corvette, whom he endows with a creative fury akin to his own\u2014but the movie\u2019s messaging constrains their range of activity and leaves out the personal side of their passions. Riley neglects the contradictions in Corvette\u2019s fascination with the work of the venom-filled Christie, for instance, and says little about the inspiration and drive behind Corvette\u2019s artistic ambition. The psychological and aesthetic core of the story\u2019s premise is the exchange between high fashion and the streets, yet Riley offers no sense of what the boosters achieve, socially or stylistically, with their redistribution of luxury goods. The result is a fashion movie that takes the art at its center for granted, a work of radical narrative freedom which falls back on last season\u2019s tropes.\u00a0\u2666<\/p>\n

Read more Singing the Knicks\u2019 Praises, with a Dash of Metal<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Boots Riley\u2019s new film is an exuberantly inventive but overstretched comedy about the redistribution of luxury goods, Richard Brody writes.<\/p>\n","protected":false},"author":1,"featured_media":152,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-153","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-current-cinema"],"yoast_head":"\n\u201cI Love Boosters,\u201d Reviewed: A Socialist-Surrealist Shoplifting Fantasy - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=153\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cI Love Boosters,\u201d Reviewed: A Socialist-Surrealist Shoplifting Fantasy - 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