Release Date – 30th October 2026, Cert – 18, Run-time – 1 hour 54 minutes, Director – Boots Riley
A group of shoplifters (Keke Palmer, Taylour Paige, Naomi Ackie) take on one of the biggest names in fashion (Demi Moore) with the aim of reselling her clothes at cheaper prices.
Each time the score for I Love Boosters kicked in the closed caption subtitles would read “quirky music playing.” The music itself, much like the film, isn’t just quirky, but with the time the caption had on screen it would be difficult to add the words bonkers, bizarre, wacky, crazy, mad, absurdist and just plain nuts (just to start with) and have enough time to read them. All of these I mean in the highest of complimentary ways.
Writer-director Boots Riley is making films like no one else. 2018’s Sorry To Bother You, his feature debut, was mad and absurdist in its satire, then goes brilliantly off-the-walls with a sudden surprise in the final 20-25 minutes. If you took those final stages and drew them out over two hours you’d have I Love Boosters. The commitment to brightly coloured chaos has to be commended.
As ‘boosters’ Corvette (Keke Palmer, on excellent form), Mariah (Taylour Paige) and Sade (Naomi Ackie) take aim at fashion mogul Christie Smith (Demi Moore, playing a traditional boo his villain), planning to steal her clothing and sell it for cheaper prices, the costumes and sets are almost intentionally garish. They look fantastic and play into Riley’s style with great effect – Christie’s office is at a constant angle due to being in a diagonal building, the jokes write themselves and work thanks to how much the cast sell them. The style is so much a part of the film, its world and identity but never feels as if its prioritised over substance, they work hand-in-hand in Riley’s own hands to form his sci-fi infused satire.
Laughs are consistent, and between them I couldn’t help but have a big smile on my face from the pure fun there is to be had. Boosters is loud and proud. Each department and character matches the others with maximum volume and commitment, getting across the deliriously entertaining absurdist madness. From bursts of sudden fantasy (involving a brief turn for LaKeith Stanfield who crops up throughout) to teleportation-based theft the turns of the consistently barrelling narrative are a pure joy to see unfold in a kaleidoscopic rainbow – as someone declares part way through whilst dealing with the effects of a futuristic device “now is not the time for nuance!”. Yet, all of this is done without feeling like a sensory overload or simply too much.
Everything matches up to create a film that defines bold and original. Riley is making truly unique features that should be a greater part of the awards conversation – the production and costume design here should be in serious contention for plaudits; a fashion shop in shades of sickening green or yellow as the current colour of the month paired with an uptight, patronising manager (Will Poulter) wrapping himself up head-to-toe in the palette contrasts with the rainbow of luminous, feathery costumes and wigs worn later on by the lead ensemble. An ensemble who gives it their all and bounce off each other with bursting energy. It seems that a great time was had making this film, and there’s a brilliant one to be had watching it.
Brilliantly bonkers, I Love Boosters envelops you in the incredibly designed, brightly coloured madness of its world and singular style. Boots Riley is making films like no one else, bringing an excellent ensemble cast and the audience along for the frequently funny, entertainingly chaotic ride in this absurdist satire.
