I’m a Virgo review (2023)
CR: Prime Video
Hey there, fellow cinephiles! It’s been quite a journey since director Boots Riley’s thought-provoking and riotous debut with “Sorry to Bother You.” And now, he’s back with his new Prime Video series, “I’m a Virgo,” which continues his exploration of Afro-Surrealism in a fresh and hilarious way.
The show revolves around Cootie, a 13-foot-tall, 19-year-old Black man raised in Oakland, brilliantly portrayed by Jharrel Jerome. Cootie’s adoptive parents, played by Mike Epps and Carmen Ejogo, keep him sheltered, fearing that the world will exploit and discard him if they discover his existence. But Cootie’s curiosity gets the better of him, and he ventures out into the world, opening the floodgates to a wild and absurd coming-of-age story.
One of the standout features of “I’m a Virgo” is its clever use of Cootie’s towering stature. Through a combination of CGI, forced perspectives, and practical props, we get treated to physical comedy and day-to-day hilarity. We learn about Cootie’s eating habits, bathroom struggles, and even witness a truly unforgettable moment when he engages in intimacy. The kitschy and imaginative execution of his size adds to the overall enjoyment of the series, even if it stretches believability at times.
Jharrel Jerome truly shines in his role as Cootie, capturing both his physical and social awkwardness with a delightful blend of fun-loving empathy. While his naivety might make us see him as his parents do, with protective care, Jerome ensures that Cootie never comes across as infantilized. Instead, he brings out the character’s clumsiness, curiosity, and comedic edge in a way that makes him an absolute joy to watch. Whether it’s navigating the complexities of romance with the quirky Flora (played by Olivia Washington) or simply indulging in a plate of tacos, Jerome’s performance is a treat.
But the absurdity doesn’t stop there. Enter Walton Goggins as “The Hero,” a millionaire donning a super-suit reminiscent of Iron Man but with all the wrong intentions. The Hero represents the issues with law enforcement, amped up to superhuman levels. Flying over Oakland, he upholds the importance of law and order while warning Black teenagers that merely dressing alike could land them in trouble. Goggins delivers an absolutely insane portrayal of this ludicrous antagonist, exactly what the show needs.
Riley cleverly intertwines the problems with the police and society’s obsession with superheroes, effectively using absurdity as a thematic tool. The series tackles capitalism head-on, showcasing its consequences in various forms. From exposing the flaws of healthcare accessibility to exploring a cult of Steve Jobs lookalikes who see Cootie as their messiah, Riley dives into the repercussions of institutionalized capitalism with varying degrees of gravity.
Even when the commentary takes opaque forms, the show maintains its integrity. In one instance, Cootie is approached by an agent who books him as a model in fashion installations where he terrorizes white mannequins—a disturbing representation that challenges the commodification of Black bodies. Cootie recognizes the messed-up nature of the situation, but the allure of financial gain tests his principles.
“I’m a Virgo” deftly balances its coming-of-age format with the struggles faced by young Black individuals. While navigating friendship, first loves, and breaking free from parental control are universal challenges, enduring a political landscape that targets you based on your race presents an entirely different beast. With an exceptional cast bringing this world to life, the series becomes a riotous laughter-inducing social document and an empathetic character study.
Boots Riley once again showcases his quick wit, surreal creativity, and nuanced exploration of social issues in “I’m a Virgo.” It’s a testament to his absurdist excellence and proves that his style is not a one-and-done phenomenon. If we have to wait another five years for a third edition, it’ll undoubtedly be worth it. Until then, let’s savor the brilliance of “I’m a Virgo” and appreciate the genius of Boots Riley’s storytelling.
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