I Love Boosters (2026)
Directed by Boots Riley
A group of shoplifters take aim at a cutthroat fashion maven by stealing from her stores and reselling them at a lower price — what they call 'fashion-forward philanthropy'.
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36 films that influenced I Love Boosters
What critics say influenced I Love Boosters
Karl Marx might have written if he’d seen “The Devil Wears Prada,” both parts…
(Even not caring about getting dressed is a choice — rewatch the original “The Devil Wears Prada” for that speech.)
…ironically with some of the same messaging seen in The Devil Wears Prada 2 right now…
Director
Terry Gilliam
Critics invoke Gilliam by name, and compare I Love Boosters to 1 of Gilliam’s films.
Visuals
On Gilliam, rather than any one film
Their struggle for upward mobility is visualized via the Terry Gilliam–ish production design of Christie’s office, which exists at a 45-degree tilt.
At first, the movie feels like Boots Riley working in a mode akin to early Terry Gilliam…
…the production design feels like a mix of Brazil, Pee-wee’s Big Adventure, and TikTok.
On Anderson, rather than any one film
…it feels like Riley is establishing himself as a visual stylist along the lines of Michel Gondry or Wes Anderson.
It’s Dr. Seuss and Looney Tunes, it’s Wes Anderson and Joe Dante.
Director
Spike Lee
Critics invoke Lee by name, and compare I Love Boosters to 1 of Lee’s films.
Visuals
On Lee, rather than any one film
Appropriating Spike Lee’s signature double dolly…
…like if Spike Lee and George Lucas were to experience the human equivalent of nuclear fusion…
Riley’s plotting can be as convoluted as Spike Lee’s in trying to get his message out — remember Lee’s grand denouement in Bamboozled where one character held another at gunpoint to force them to watch (and understand the offense of) old blackface and minstrelsy films?
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On Gondry, rather than any one film
…a DIY production design that resembles Michel Gondry on acid…
…it feels like Riley is establishing himself as a visual stylist along the lines of Michel Gondry or Wes Anderson.
…makes The Daniels’ “Everything Everywhere All at Once” look like a neorealist drama.
Those who found the maximalism of "Everything Everywhere All At Once" neutered by that movie's sentimentalism will probably dig the way "I Love Boosters" manages to keep its surreal wits about itself without resorting to platitudes.
Shirley Kurata’s (Everything Everywhere All at Once)…
Special kudos are in order for costume designer Shirley Kurata, known for her Oscar-nominated work on Everything Everywhere All at Once…
The production clearly kept costume designer Shirley Kurata (Everything Everywhere All at Once) VERY busy.
Kurata also did the ensembles for the Oscar-nominated “Everything Everywhere All at Once” with its wardrobe of googly eyes and Elvis jumpsuits.
In “Modern Times,” the Little Tramp slithered through a factory’s giant gears.
One of my favorite filmmakers is Marxist feminist Lina Wertmüller, whose 1970s art-house films like A Night Full of Rain and Seven Beauties have in mind the fraught dynamics of gender relations, communism, and liberal feminism’s limitations.
One of my favorite filmmakers is Marxist feminist Lina Wertmüller, whose 1970s art-house films like A Night Full of Rain and Seven Beauties have in mind the fraught dynamics of gender relations, communism, and liberal feminism’s limitations.
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The anxious, tactile metaphors extend also to the giant ball of bills and parking tickets that keeps materializing out of thin air to chase Corvette like she’s Harrison Ford in the opening of Raiders of the Lost Ark.
…the production design feels like a mix of Brazil, Pee-wee’s Big Adventure, and TikTok.