"Just when you're getting into a comfort zone with his seductive heist premise, in which Robin Hood-like thieves liberate high fashion from the filthy rich, Riley throws in some demon cunnilingus; or Marxist notions like dialectical materialism, which he illustrates for the audience by depicting two people raw-dogging it. OK, those hysterical bits are pretty digestible. I'm holding back from revealing just how absurd and baffling things get from there, at the risk of alienating or distancing in the same way Riley did in Sorry To Bother You."
"The offending gags and detours always feel motivated by, and organic to, the movie's rousing political ideas and cinematic resistance. And whatever it is that makes them confounding or frustrating, also makes sure we're not being lulled into complacency. Let's just say I Love Boosters is welcoming of all resistance, even towards itself."
"The brash film-maker doesn't make it easy to love his gonzo agitprop. That's part of his whole appeal, really. He dares us to resist and gets away with it because he's such a compelling and necessary voice. All this to say, Riley's latest I Love Boosters, is just as outrageously hilarious and militant in its refusal to be enjoyed in the most conventional sense."
"Trolling with politic intent is very Jean-Luc Godard, who Riley throws a cheeky reference to in I Love Boosters. Perhaps he's acknowledging how much is borrowed from the French new wave film-maker's radical masterpiece"
I Love Boosters is a feature film that combines heist fantasy with militant political refusal to be comfortably enjoyed. High-fashion theft from the filthy rich is framed through a Robin Hood-like premise, but the film repeatedly interrupts comfort with shocking, baffling, and sexually explicit gags. Marxist concepts such as dialectical materialism are presented through deliberately raw, confrontational scenes. The film’s confounding detours are portrayed as motivated by and integrated with its political aims, preventing complacency. Resistance is depicted as directed not only outward but also toward the film itself, challenging viewers’ expectations. The approach is linked to radical film traditions, including references to French New Wave provocation.
Read at www.theguardian.com
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