Tag: Sci-Fi

“Star Trek”: Selected Episodes (Season 1)

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Episode 2: The Man Trap

This was the first episode of the original Star Trek to air on TV. We get to see the developing chemistry between the main crew members, an alien creature, and interesting planetary scenery. Captain James T. Kirk (William Shatner), Dr. Leonard McCoy (DeForest Kelley), and a young redshirt (Michael Zaslow, who later became a soap opera star) beam down to a planet to provide medical supplies to Dr. Crater and his wife, Nancy, a former girlfriend of McCoy’s. Oddly, each man sees Nancy as a different woman from his past. Redshirt is a term used by fans of Star Trek to the characters who wear red Starfleet uniforms and/or characters who are expendable, and often killed.

The joking banter between Kirk and McCoy shows that the captain is not just an authority figure, and the doctor has a lot of charm. We learn re: Spock (Leonard Nimoy) and his logical Vulcan personality. There is a flirty early scene between him and Lt. Uhura (Nichelle Nichols); this (no doubt) inspired the romance between the characters in J.J. Abrams recent reboot movies. Uhura tried and succeeded in making Spock hot under the collar (notice the little move Nimoy does at end of the clip).

Episode 4: Where No Man Has Gone Before

The episode title was the closing phrase of the opening credits (voiced by Shatner) and has gone on to shape sci-fi and pop culture! After investigating what happened to the Valiant, the Enterprise encounters a magnetic space storm that gives Lt. Cmdr. Gary Mitchell (Gary Lockwood) dangerous/godlike powers and ESP. When Mitchell, a friend of Kirk’s from Starfleet Academy, unleashes his powers on the crew, Spock suggests that he should be killed. Kirk disagrees and takes him to a remote planet, but there is more to the story.

There is action and fine acting by Lockwood and Sally Kellerman (psychiatrist Dr. Elizabeth Dehner). Lockwood (a former football player and stuntman) was the star of Roddenberry’s first TV show- The Lieutenant (1963). In 1968, he was cast as the co-lead in Stanley Kubrick’s iconic sci-fi film- 2001: A Space Odyssey. You get a glimpse into humanity’s struggle for power and the corruption it breeds. Kirk knows that Mitchell didn’t ask for what happened to him; thus begins a tradition of complicated/sympathetic villains in the world of Star Trek.

Episode 5: The Naked Time

Spock and a redshirt- Tormolen- beam down to a planet (wearing funky/orange environmental suits) to investigate. They discover a frozen lab w/ 6 dead scientists. They also get exposed to a substance that strips people of their inhibitions. After beaming back aboard, Tormolen ends up killing himself (riddled w/ self-doubt). You get to see the chemistry between Bones (Kirk’s nickname for McCoy) and the captain; they’ve known each other a long time.

Riley, another young crewman, begins acting goofy (going on about being Irish and singing songs). Most famously, Sulu (George Takei), begins to parade around w/ a sword (like a musketeer). Riley ends up taking over the engineering room, and basically, the ship becomes chaos! Spock stops Sulu by applying the Vulcan nerve pinch (which Nimoy came up w/ himself, as an alternative to a violent strike). As you see in S1 E6, it was Shatner’s over the top reaction that sold this move to producers. Nurse Christine Chapel (Majel Barrett) and Spock have a nice scene, and he gets infected (after she holds his hand). There is a lot of comedy, but fans also love it for Nimoy’s terrific performance. Capt. Kirk is even infected, so we hear his regret at not having a personal life.

Episode 6: The Enemy Within

Star Trek takes on Jekyll and Hyde w/ an ep focused on Kirk (and Shatner’s unique style of acting). During a survey of a new planet, a technician is exposed to a substance that alters the Enterprise’s transporter. When Kirk beams aboard the ship, he is split into two: one good, one evil. After the lustful/violent Kirk attempts to assault Yeoman Janice Rand (Grace Lee Whitney), Spock deduces that there is an imposter aboard. The good Kirk is lacking confidence and indecisive (looking to Spock for his trusted guidance). The episode looks into the duality of human nature; the two halves need to coexist together inside one body. There is also an alien animal which is (obviously) a small dog in a furry costume w/ a horn on its head- LOL! This ep was directed by Leo Penn (father of actor Sean Penn); he went over-schedule, so was sadly not asked back to work.

Episode 11: The Corbomite Maneuver

While developing star maps of a distant region of space, the Enterprise is confronted by a box-shaped alien ship commanded by a powerful being- Balok. When he threatens to destroy the ship, Kirk comes up with a cunning bluff to convince the alien that the Enterprise is carrying a deadly substance (corbomite) which could destroying both ships. This is the first ep to show Kirk’s daring in a face-off w/ another ship in space. Kirk bends the rules for the greater good and turns a potentially fatal situation into a victory. By using his imagination instead of violence, a better outcome is achieved.

Episodes 12 &13: The Menagerie (Parts I & II)

The only 2-part episode of ST: TOS which calls back to former star dates when the Enterprise was comprised of a different crew (aside from Spock). Before Shatner was cast as Kirk, Star Trek shot a pilot (The Cage) starring Jeffrey Hunter as Capt. Christopher Pike and Number One (Majel Barrett)- his female first officer. The network rejected that pilot, considering it too cerebral and thinking it too unrealistic to have a woman as senior officer. Barrett would play Nurse Chapel on the show (w/ a blonde wig) and the voice of the computer system. She married the show’s creator, Gene Roddenberry, in 1969.

This is a clip-show w/ Starfleet’s version of a courtroom drama. Spock abducts his former commander, the recently disabled Capt. Pike, and heads for Talos IV, where The Cage took place. The punishment for traveling to this planet is death, according to Starfleet. Spock turns himself in and presents an elaborate story in defense of his actions. We meet a beautiful/mysterious human woman (played by Susan Oliver) and the Talosians (a large-headed alien race who communicate w/ their thoughts and have the power to create illusions which look like reality).

Episode 15: Balance of Terror

At the 50th anniversary Star Trek convention in Las Vegas in August 2016, fans voted this the 8th best episode of the entire franchise! The Enterprise battles a Romulan ship suspected of destroying outposts in the Neutral Zone in this tense, intelligent, and though-provoking ep. The Romulan Bird-of-Prey has a cloaking device. Since two-way visual communications didn’t exist during the Earth-Romulan War about a 100 yrs ago, Romulans and humans have never seen one another. The Enterprise has to confront a brilliant enemy leader and also its own bigotry, as the unnamed Romulan commander (Marc Lenard, who later played Spock’s father- Sarek) resembles a Vulcan! Budget and time constraints prevented the make-up and costuming departments from dressing up each of the Romulans in Vulcan ears. They decided to give the lesser Romulans helmets, which were redressed Roman helmets from the studio’s Biblical epics of the ’50s.

Network restrictions at the time forbade the tackling of any controversial subjects (EX: Vietnam War, the Civil Rights movement, and the rise of feminism). ST: TOS, under the form of sci-fi, boldly flouted these rules! This story openly deals with the subject of racism, as reflected through Lt. Stiles’ (Paul Comi) opposition to Spock. Lenard (who worked mainly in theater until his early 40s) said: “The Romulan Commander was one of the best roles I ever had on TV. In many ways, I did enjoy that role [Sarek], but I think the more demanding role and the better acting role was the Romulan Commander.” When Nimoy held out for a better contract (after the first season), Lenard was one of the leading candidates to replace him as Spock. Nimoy (who received more fan mail than Shatner and an Emmy nom) eventually got a raise from $1,250 to $2,500 per episode.

Episode 17: The Galileo Seven

This ep features a shuttlecraft (for the first time). Spock leads a research team aboard the Galileo on a mission that begins as an investigation of a mysterious quasar-like formation. Forced to make an emergency landing on Taurus II, a fog-shrouded planet, Spock and crew face off w/ large/ape-like creatures armed w/ huge spears. These creatures pose immediate threats to the crew, but Spock also goes up against his greatest enemy– his own logic- when faced w/ decisions of command. Nimoy comes center stage (for the first time and proves that Spock can serve as the driving force of an ep). Spock’s logic is thwarted by several events. In a desperate attempt to escape the planet, Spock makes an illogical gamble!

Episode 23: Space Seed

This very famous ep introduced Star Trek‘s most popular villain: the genetically enhanced superman from the 20th century, Khan Noonien Singh (Ricardo Montalbán). Following positive feedback from producers and the network, this was the first episode to feature a prominent role for Scotty (James Doohan). The Enterprise comes across a long-lost Earth vessel, the Botany Bay, containing a cryogenically frozen Khan and his crew. After manipulating historian Lt. Marla McGivers (Madlyn Rhue) w/ his strong will/magnetism, Khan and his superhuman soldiers take command of the Enterprise. Carey Wilber (the scriptwriter) used the 18th c. British custom of shipping out the undesirables as a parallel for his concept of “seed ships,” used to take unwanted criminals out to space from the overpopulated Earth.

Khan is the perfect villain for Kirk to take on, as he is a mentally/physically superior being who threatens his command and crew. Montalban was always the first choice for Khan; he had been suggested by casting director Joseph D’Agosta, who was not looking to cast an actor of a particular ethnic background due to Roddenberry’s vision (of race neutrality) for the series. Montalban (born in Mexico to Spanish parents) came up in the theater, like several actors in the Star Trek franchise, and does a terrific job. The actor thought his role was “wonderful,” saying “it was well-written, it had an interesting concept and I was delighted it was offered to me.” This episode inspired two films: Star Trek II: The Wrath of Khan (1982), in which Montalban once again played the role, and Abrams’ Star Trek: Into Darkness (2013) w/ Benedict Cumberbatch.

Episode 25: This Side of Paradise

Was humanity meant to live in an Eden? This memorable ep explores that question when the Enterprise investigates a colony destroyed by deadly ray beams on a planet. Kirk, Spock, McCoy, Sulu, and some redshirts beam down to the planet’s surface to discover that Elias Sandoval (Frank Overton) and his colonists are still alive and in perfect health, enjoying a pastoral existence off the grid. The colony’s botanist, Leila Kalomi (Jill Ireland) knew Spock 6 yrs ago and has deep feelings for him still. She leads him a flowering plant whose spores cause euphoria and loss of inhibitions. Spock declares that he loves Leila and agrees to live in the commune! As you will see in the clip below, Nimoy plays this scene totally straight (revealing that he does love Leila, but was unable to express it before).

This ep has mutiny, temptation, and comedy. Kirk struggles to maintain control over the crew members who have been exposed to the spores. McCoy starts talking more Southern (w/ a slow drawl) and looking for ingredients of a mint julep- LOL! Writer D.C. Fontana (who started as a script editor) thwarts audience expectations by putting Kirk in the intellectual lead, while Spock’s half-human side is further developed. Nimoy was initially taken aback when he was told that they were working on a love story for Spock, but said it turned out “very lovely.” Here is a (funny) clip; we also get to see Nimoy’s smile.

Episode 26: The Devil in the Dark

The Enterprise travels to the planet Janus 6 to assist a mining colony. Kirk, Spock, and McCoy beam down to the planet where Chief Engineer Vanderberg tells of a creature loose in the mine tunnels killing his men. It seems to appear out nowhere, then disappears just as quickly. Finding that the creature, a Horta, lives in a newly-opened part of the underground mining complex, Spock uses the Vulcan mind meld to determine why it is killing the miners. Nimoy said the closing banter between Spock and Kirk was one of his faves, as “it was a wonderful moment which defined the relationship and defined the whole Spock character’s existence and his attitude about himself.”

Roddenberry considered this one of the best eps, saying: “The Horta suddenly became understandable… It wasn’t just a monster- it was someone. And the audience could put themselves in the place of the Horta… identify… feel! That’s what drama is all about. And that’s it’s importance, too… if you can learn to feel for a Horta, you may also be learning to understand and feel for other humans of different colors, ways, and beliefs.” Shatner identified this as his fave ep, b/c his father died during filming and Nimoy’s delivery of the mind meld lines made him laugh. He thought it was “exciting, thought-provoking and intelligent, it contained all of the ingredients that made up our very best Star Treks.”

Episode 29: The City on the Edge of Forever

This ep (loved by TV critics and fans) by Harlan Ellison shows us a sympathetic tale mixed w/ elements from the best of sci-fi. This was the most expensive episode produced during the first season, and also the most expensive episode of the entire series, except the two pilots. The average cost of each S1 ep was around $190,000. Production went over schedule, resulting in 8 shooting days (not 6, as usual). Ellison won a Hugo Award and a Writer’s Guild award for best teleplay. Joseph Pevney was chosen to direct on this episode because of his experience in directing 20+ films.

After an accidental overdose which makes him temporarily insane, McCoy beams down to an alien planet. A gateway, The Guardian of Forever, sends him back to Earth during the Great Depression. He somehow alters the course of time, erasing the Federation from history! Trapped in the limbo, Kirk and Spock travel back in time to 1930 (a week before McCoy) in an attempt to correct the course of history. They meet Edith Keeler (Joan Collins), a social worker who runs a mission and has dedicated her life to the needy. Spock works on building a computer to access material on his tricorder. Kirk and Edith have a romance; there is great chemistry between Shatner and Collins. The shocking truth is revealed- in order to fix the time alteration, Edith must die! When asked whether this ep was consciously commenting on the anti-Vietnam War movement, associate producer Robert H. Justman answered (in 1992), “Of course we did.”

Ellison’s original story outline and first draft script featured a crewman named Beckwith (not McCoy), who was dealing drugs. Beckwith murdered a fellow crewman, LeBeque, who was on the verge of turning him in, escaped to the planet the ship was orbiting, and went through time and changed history. The Enterprise was gone, and a savage pirate ship was in its place, full of renegade humans. Kirk and Spock follow Beckwith through the time portal to 1930 in NYC. Kirk still falls in love w/ the young social worker. Finally, w/ the help of a disabled WWI vet- Trooper (who dies in the action)- Kirk and Spock find Beckwith. In the end, Kirk does not stop him saving Edith, but freezes and Spock prevents her rescue. In the epilogue, Spock tries to console Kirk by saying: “No other woman was offered the universe for love.” This script was unusable for different reasons, so was rewritten several times. Roddenberry objected to the idea that drugs would still be a problem in the 23rd century, and even present among starship crews. Also, the production staff was strongly against Kirk’s final inactivity. It seemed that being unable to decide and act, viewers could never be able to accept him as the strong leader in later eps. Some elements were simply impossible to create on the series’ (low) budget.

“Planet of the Apes” (1968) starring Charlton Heston, Roddy McDowell, Kim Hunter, & Maurice Evans

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It raises a lot of questions about our modern day society without letting social commentaries get in the way of the drama and action.

The movie based on this book [La planet de singes by Pierre Boulle] is an “Americanized” adaptation of it. Rod Serling did the first drafts of the screenplay, simplifying the plot by fitting it into the mold of his “Twilight Zone” TV series and introducing an anti-nuclear war theme not present in the Boulle novel.

Pierre Boulle raises such issues as balance of power, racism, the role of government, and evolution… 

The film is philosophical, creative, absorbing and scary. Excellent commentary on religion and just about everything else.

-Excerpts from comments on IMDB

This movie tells the story of George Taylor (Charlton Heston), when he and his fellow astronauts find themselves stranded on a seemingly unknown planet. It seems to have no life. After travelling across a desert, they discover plenty of life (incl. apes that are human-like and humans that are ape-like). The (orange) orangutans are the leaders; the (grayish) chimpanzees are intellectuals and technicians; the (black) gorillas are guards/police (or do grunt work). Taylor is shot in the neck rendering him unable to speak. He is taken to a human-ape study lab, where he meets Zira (Kim Hunter), a chimpanzee scientist. She notices that Taylor’s intelligence goes far beyond that of any other human she has seen; she encourages him to speak. However, the orangutan leader, Dr. Zaius (Maurice Evans), sneers at Zira’s and her fiancé Cornelius’ (Roddy McDowall) belief in any human intelligence. He (and his council) won’t listen to reason. Despite Cornelius’ conflicted feelings towards Taylor, he agrees to help prove his intelligence.

As many critics and fans have noted, Heston basically played himself. This role is not unlike those he played before; he is often shirtless, tan, and bearded. Heston uses his physicality, as is needed for a action hero role. There are few moments (w/ Nova, the young woman who will be his “mate”) where his vulnerable side comes out. Zira and Cornelius are quite interesting characters. Hunter’s portrayal of Zira was considered very powerful by many viewers; she is the most developed character in the film. Hunter manages to make Zira what she was meant to be, more human then ape. The intelligent and curious Cornelius (Roddy McDowell) has a bit of a rivalry w/ Taylor (as they constantly challenge each other like males of any species).

Planet of the Apes is considered a pivotal work of American cinema. Modern viewers will be surprised (not only by the ending), but by the fine camera work, unique soundtrack (by Jerry Goldsmith), makeup (by John Chambers), and good performances. After the film’s success, there were sequels, a TV series, a remake and a prequel (2011). There were also toys/models, comics, cartoons, and T-shirts to sell. I think even those who avoid the sci-fi genre should check it out! The Simpsons (my younger brother was a big fan) did a parody of this film, so you know it left it’s mark on pop culture.

National Theatre Live: Frankenstein (2011) starring Benedict Cumberbatch & Jonny Lee Miller

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[1] Mary Shelley’s Frankenstein has lasted because of the profound themes in her story – the morality of science, parental responsibilities, man’s vanity, the removal of the divine from creation etc. Nick Dear’s writing takes these all on, keeping the story’s political punch alive. 

[2] …great comic timing in his depiction of the more playful parts of the Creature’s growing pains, and real tendresse and anxiety as the Creature battles his own internal conflict between love and revenge.

-Victoria Sadler (Huffington Post, 10/29/13)

Frankenstein (adapted by Nick Dear from Mary Shelley’s novel) returned to movie screens this past week (10/22 & 10/29) just in time for Halloween. I almost forgot that this was on (until I looked up my local movie listings this afternoon)! In my audience, I saw several older couples (as I’d expect to see at live theater), along w/ two young ladies (Japanese), and a few other women in their 20s and 30s. Filmed in 2011 at the National Theatre in London, this (sold-out) production has been seen by about 500,000 worldwide. Directed by Oscar winner Danny Boyle, Frankenstein features Cumberbatch and Miller (who seem to be good friends; both have played Sherlock) alternating between the roles of Victor Frankenstein and the Creature. FYI: I saw the version where Cumberbatch (long before he was a household name in either the UK or US) was the Creature.

[1] …it’s rather like seeing The Tempest rewritten from Caliban’s point of view.

[2] Cumberbatch’s Creature is unforgettable. “Tall as a pine tree,” as the text insists, he has humour as well as pathos… But there is also an epic grandeur about Cumberbatch. As he quotes Paradise Lost, his voice savours every syllable of Milton’s words…

-Michael Billington (The Guardian, 2/23/11)

Wherever the Creature goes, people scream in fear and/or beat him, until he comes upon the hut of a blind man, De Lacey (veteran actor Karl Johnson). This is a poor former professor (w/ a lot of old books) who lives w/ his farmer son, Klaus, and daughter-in-law, Agatha. De Lacey is kind and gentle w/ the Creature, teaching him in secret for about a year. The Creature clears away rocks (so the couple can till the soil) and fetches wood for making fire. The old man even tells the Creature that if he “is a good man,” then someday he’ll have someone to love. One day, De Lacey insists upon introducing him to the family. It goes wrong- quickly and like the “emperors and heroes in the stories” he’s read, the Creature vows “revenge.”

I should be Adam. God was proud of Adam. But Satan’s the one I sympathise with. For I was cast out, like Satan, though I did no wrong. And when I see others content, I feel the bile rise in my throat, and it tastes like Satan’s bile! -The Creature explains to Victor 

The central question of this story: Who is the real monster- the Creature or Frankenstein himself? The young scholar Frankenstein rejects his creation, cursing it and throwing it out into the streets (along w/ a notebook of experiments). While Victor has been engaged to Elizabeth (a pretty, strong-willed, yet empathetic Naomie Harris), he barely speaks w/ her or shows any kind of affection. The outcast/lonely Creature desperately wants someone to love, asking Victor to make “a mate” for him. At first, Victor is repulsed by the notion, but quickly becomes intrigued at the thought of “the perfect woman.” They shake hands (strike a bargain) and Victor goes off to England, then Scotland, to do his work. From here, the play gets even darker in tone! (Now I’m curious about the original book.)

[1] Using the first 30 minutes to display the creature gradually “building” his own personality, Dear places the “voice” and troubled psychological aspect of the creature right at the centre of the adaptation, with Dear smartly showing Frankenstein and the towns people’s interactions from the outcast point of view of the creature. Whilst the screenplay does show that Frankenstein and the towns people turn the creature into “the monster” that they fear, due to being focused on the permanently damaged exterior and not the welcoming, and repairable interior of the creature.

Benedict Cumberbatch gives an unexpectedly subtle, vulnerable performance, with the opening of the film solely focusing on the creature rising from the dead, allowing Cumberbatch to place the viewer deep inside the skin of the character, thanks to Cuberbatch slowly showing the creature transform from being speechless and native, to using human skills such as lying to his deadly advantage.

[2] An intense, must-see thrilling performance from both Cumberbatch and Miller. The dialogues filled with static chemistry, a beautiful and perfect mix between beauty and horror, a destabilized yet animated stage that shows all facets of life and death. A hypnotizing and cutting-edge play, a real work of art that is absolutely not to be missed.

-Excerpts from IMDB reviews

What To Watch Next (OCT 2018)?

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Colette (now playing in limited release) starring Keira Knightley, Dominic West, & Eleanor Tomlinson

After marrying a successful Parisian writer known commonly as “Willy” (West), Sidonie-Gabrielle Colette (Knightley) is transplanted from her childhood home in rural France to the intellectual and artistic splendor of Paris. Soon after, Willy convinces Colette to ghostwrite for him. She pens a semi-autobiographical novel about a witty and brazen country girl named Claudine, sparking a bestseller and a cultural sensation. After its success, Colette and Willy become the talk of Paris and their adventures inspire additional Claudine novels. Colette’s fight over creative ownership and gender roles drives her to overcome societal constraints, revolutionizing literature, fashion and sexual expression. -Summary from Bleecker Street 

First Man (opening OCT 12th) starring Ryan Gosling, Claire Foy, Kyle Chandler, Corey Stoll, Jason Clarke, Pablo Schreiber & Ciaran Hinds

This is a biopic of astronaut Neil Armstrong (Gosling), a Midwestern family man and former pilot, and the legendary space mission that led him to become the first man to walk on the moon. Though it’s directed by La La Land’s Damien Chazelle, there are NO songs or dances (no worries- LOL)! Critics are suggesting that you watch this in IMAX (if possible). 

Museo (now playing) starring Gael Garcia Bernal

Two 30-something slacker pals (living w/ parents in Mexico City) decide to pull an art heist. This is based on a true story- WOW! This film has been getting good buzz, and I’m a big fan of GGB.

The Hate U Give (opening OCT 19th) starring Amandla Stenberg, Common, Regina Hall, Issa Rae & Russell Hornsby

This looks to be an unique twist on the coming-of-age story (already being praised highly by critics). It was based on best-selling novel by a young black woman, Angie Thomas. A working-class black teen girl from the inner-city, Starr (attending a mostly white private school), experiences the awakening of her racial consciousness after witnessing the killing of her childhood best friend, a black boy, by a police officer.

Venom (opening OCT 5th) starring Tom Hardy, Michelle Williams, Riz Ahmed, Woody Harrelson, & Jenny Slate

I learned that Venom was in Spider-Man 3, though this movie is considered to be outside the Marvel universe. Mild-mannered investigative reporter, Eddie Brock (Hardy), uncovers a secret government experiment and eventually merges w/ a symbiote called Venom. I’m curious to see it mainly for Riz Ahmed (who plays villainous scientist Carlton Drake).

Sorry to Bother You (2018) starring Lakeith Stanfield, Tessa Thompson, & Danny Glover

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NOTE: This post contains MILD SPOILERS for the film (now playing in select theaters).

If you liked Get Out (where Lakeith Stanfield had a small, yet crucial role), then I highly recommend this movie. If you love to laugh (yet don’t want to shut off your brain), check it out. My friend and I got tickets to an early screening w/ Q&A by director Boots Riley and actor Danny Glover (who was a surprise guest; he was in DC for an education conference). As w/ Blindspotting (currently in theaters), Sorry to Bother You was filmed in the quickly gentrifying city of Oakland, CA. While Blindspotting is a realistic slice of life film, Sorry (written/directed by first timer Riley) is a social satire w/ fantasy/sci-fi elements. That’s NOT something you see everyday! 

Cassius Green (Stanfield) is a broke 20-ish man in need of a job to pay rent on his uncle’s (Terry Crews) garage-turned-apt he shares w/ long-time girlfriend, Detroit (Tessa Thompson from Dear White People), a struggling artist who hold up signs (her day job). After some bluffing, he lands a job at a telemarketing firm where employees get paid on commission. An older co-worker, Langston (veteran actor Danny Glover; he grew up w/ Riley’s father), advises him to “use his white voice” in order to land more sales. Though skeptical, Cash gives it a try- it works! He gets Detroit and his best friend- Sal (Jermaine Fowler)- jobs as telemarketers. Along w/ new friend/co-worker, Squeeze (Steven Yeun from The Walking Dead), they plan to organize fellow employees, so everyone can get paid a fair wage w/ health benefits. Cash gets promoted to “power caller” (upstairs)- that’s when his problems really begin. 

It dabbles in commentary on media, society, race and working-class issues-so many poignant messages, some more successfully delivered than others.

I walked into this movie at an advance screening expecting something unique, but nothing could have prepared me for the sheer brilliance of this satirical masterwork. Hilarious from beginning to end while also subversive…

The film brings an interesting and unique take on the world minorities live as they are forced within a socioeconomic ladder. Cassius Green, played by Keith Stanfield, is faced with selling out and abandoning his friends. Through this the audience sees he is drastically changed as his success transforms him to the very thing he resented.

This movie is strange and extremely fast paced. The directing style is unlike any movie I have ever seen, and it moves just fast enough to keep you on your toes while not moving too fast for you to comprehend. There are so many themes within this movie, and all of them are shown within either a comedic context, a darker context, or both. All in all this is a movie about capitalism and how companies are driven to make money rather than care about the well-being of their workers. This is shown through more extreme absurdist examples as the movie goes on… 

-Excerpts from IMDB reviews