Corvette (Keke Palmer) is lonely. It’s not the kind of loneliness that can be solved with more friends or a new hobby, but the kind that stems from a cosmic kind of FOMO. The world is changing all around her, mostly for the worse, but sometimes for the better — at least when it comes to the artists shaping society. Designers like Corvette’s semi-problematic idol, Christie Smith (Demi Moore), are using fashion like a perverse form of marketing, controlling perception through color and raw material. She wants to be like that, but aside from sending one of her designs to a Bay Area competition run by Metro Designers — the fast fashion offshoot of Christie’s haute couture brand — she’s stuck on the sidelines. It doesn’t help that she’s destitute, with a mountain of overdue bills that have snowballed into the boulder from Indiana Jones, which haunts her waking moments. Corvette sees almost no way out of this suffocating debt, this quietly crippling loneliness. So she squats in an abandoned chicken shop and largely shuts herself off from the world.

But Corvette is also a booster. It’s the colloquial term for shoplifters who swipe merchandise from high-end stores and sell it to the community at a lower price. There’s a kind of punk-rock, Robin Hood quality to the practice — and, believe it or not, that’s probably the tamest aspect of Boots Riley’s sophomore film. That I Love Boosters is so phenomenally, fantastically weird should not surprise anyone tuned in to the rapper-turned-filmmaker’s frequency. His debut, Sorry to Bother You, was much the same until its insane third-act twist took things a bridge too far. His first series, I’m a Virgo, was relatively tamer, retaining a gonzo fairytale feel and kaleidoscopic visuals — but it didn’t make quite so big of a splash. There’s no chance of that happening here: Riley’s latest film is his loudest project by far, and not only because it dials the saturation to an 11. An onslaught of visual gags undercuts all that quiet, righteous fury until the two somehow become one, making this Riley’s messiest project thus far but also, without a doubt, his best.

New York is a city full of five-star experiences. But to make the most of a visit there, you’ll want a hotel that can live up to the hype.

Romer Hell’s Kitchen does just that. Guests get the benefit of staying in a neighborhood buzzing with energy, while also enjoying the very best on-site amenities. Their piano bar So & So’s is a timeless spot serving great food, strong drinks, and nightly music. In the lobby, the Hell’s Kitchen Neighborhood Café brews delicious coffee to pair with all-day dishes. Corner Store offers a convenient bodega for essentials and The Study’s fireplace setting is perfect as a relaxing lounge or space to take a quick call. You’ll have so much to explore and exactly what you need to unwind.

“A director makes only one movie in his life,” posited legendary filmmaker Jean Renoir. “Then, he breaks it up and makes it again.” Few directors exemplify this cycle of spirited reinvention as well as Christopher Nolan. With respect to his scraggly (yet Criterion canonized!) debut, Following, the director who now stands at the pinnacle of cinema has spent the last quarter-century refashioning his breakthrough, Memento.

The obvious hallmarks of Nolan’s works are present here, from the memeable (another dead wife) to the memorable (inventive screenwriting gambits with time). But the reverberations prove more profound than these obvious signifiers. Memento provides a Rosetta Stone to decode deeper meaning within his larger-scale efforts, offering a window into the complex paradoxes that add thematic weight to his intricately plotted stories.