The Wasteland Reviewer

I Love Boosters (2026) Written Review

What does the incredibly unique and inventive mind of Boots Riley have prepared for audiences? When Sorry to Bother You hit theaters, Riley’s name as a filmmaker became synonymous with the creativity that film could achieve. The film was wild while offering some biting commentary about the world around us. Code-switching was the name of the game when getting your “white voice” on. But with I Love Boosters, Riley explores all new types of relevant themes while also never giving up on his wildest imagination. Keke Palmer leads a group of boosters who steal the most expensive and chic clothing from a renowned fashion designer (Demi Moore). But things get out of hand when a giant conspiracy of global scale (and some stuff outside the realm of normal life) shows itself.

What makes I Love Boosters such a distinct “Boots Riley” experience? First off, this is one of the most colorful films in recent memory. Every frame has something interesting, dynamic, and creative to appreciate. For a film about fashion, you need to make sure that all the clothing pops…and I Love Boosters has plenty of clothes that pop on screen. There are also plenty of unique and strange visual choices that Riley makes to bring this bonkers story to life. There are some stop motion animation leveraged to bring some unexpected characters to life. There are car chases and such that look like they are brought to life with toys or models. When the film is getting larger in scale, you can unfortunately see some of the seams of the effects shining through. From an atmosphere perspective, one of the most unique and infectious elements in the film is Alina Kanin’s score. Quirky and strange but it fits the cinematic voice of Riley so perfectly. Riley brings plenty of humor and satire to the table along with some poignant emotional beats and some downright unnerving elements that will shock you. This film is fully Riley’s vision and delivers one of the most idiosyncratic experiences in a theater this year.

Does Riley’s script match the same level of wonder of boldness as his cinematic voice? The film works on multiple layers with plenty of moving pieces. For most writers, there would be too much to handle but Riley finds some interesting ways to thread this all together. There are certainly areas where the film stretches a bit too far in scope and not all the threads resonate but Riley is able to still deliver a thought-provoking and impactful narrative. The overarching ideas need to go broader and wider as Riley highlights not only the necessity of activism but the widespread and diverse collaborations. The film also tackles the greed-driven capitalism that has put so many people at a disadvantage as well as predatory creatives who steal from other artists while actively keeping them down. There are even more personal elements from relationship levels in terms of friendship that help the film hit more emotional beats. The central journey of Corvette (Palmer) is quite engaging as she wants to take down Moore’s Christie Smith, who takes advantage of people and has also stolen Corvette’s designs. Corvette’s dynamics with her best friends Mariah and (especially) Sade gives the film layers and depth on a more human level. Poppy Liu’s Jianhu opens the film up to new genres, wild narrative elements, and brings in a whole other layer of fashion with Chinese people suffering in the production of Smith’s designs. There are plenty of other elements in the film that feel a little disconnected like LaKeith Stanfield’s romantic interest in Corvette and Don Cheadle’s Dr. Jack who is a mastermind of the Ponzi Scheme. The story swings into some crazy places with elements that you would never expect but Riley’s complete commitment to the bit and his ambition makes the film come together in the end.

Does the cast bring Riley’s vision to life effectively? Palmer is something special as a performer as she just brings unique charisma and energy to the film while balancing a struggle that feels so relatable in her hands. Naomi Ackie is electric and raw in her portrayal as Sade who is the one character who is there to keep Corvette grounded. Taylour Paige injects Mariah with such a powerful and infectious attitude that helps her steal each scene she is in. Liu’s character not only changes the narrative of the film but also brings a unique energy to the film as she becomes a bigger focus in the second half of the film. Moore is delightfully antagonistic and brings a distinct presence as the arrogant and self-absorbed genius designer. Stanfield’s character feels a bit tacked-on, but his presentation is unnerving, and his performance is full of rage and vulnerability. Cheadle might be covered in make-up and a fat suit but his raw comedic energy shines through (even if his character is a small piece of the puzzle). There is also a charm to just how random some of the minor cast members in the film (and I am sure Riley had plenty of fun conceiving it).

Is I Love Boosters another daring win for Riley after the success of Sorry to Bother You? This is a bigger narrative with a much bigger scale to the messaging. That doesn’t mean Riley doesn’t succeed. This one is a bit more flawed and scattered but it is a powerful feat of cinematic expression. The visual, auditory, and narrative stylings are bold and ambitious in all the most engaging ways. Palmer leads an extremely talented and committed cast who get the job that Riley has laid in front of them. I Love Boosters is a powerful film that has endless entertainment value as well (no matter how strange and unhinged that it can get).