I’ve been rooting so long for somebody to make an anticapitalist black comedy that I’m shocked somebody finally did. Writer-director Boots Riley — front man for the Oakland-based communist hip-hop group The Coup, which has given us such cult favorites as “The Guillotine” and “Kill My Landlord” — makes his feature-film debut with Sorry to Bother You. This socialist-must-see indie film is earning so much money and critical acclaim that the press is all over Riley — including one of those reverent profile pieces in the New York Times that lets us know there’s a new star in the heavens.

If we lived in a sane country with a political system that made any sense whatsoever and a media to match, this film wouldn’t be generating so much excitement. But we don’t, and we haven’t seen a mainstream pro-union film since, uhhhhhhh . . . Matewan in 1987? That fact alone makes Sorry to Bother You a riveting experience.

But beware the hype. At this point, so many critics are raving about how “wild,” “crazy,” “screwy,” and “bonkers” this film is, you might go in wondering if you can handle the ride. It’s really not that wild. It’s just that movies now are so, so tame. The angry political stance of the film is probably striking people as just as “crazy” as its periodic outbursts of CGI-facilitated gags and dystopian sci-fi effects. These surreal aspects of Sorry to Bother You represent an honest attempt to suggest the kind of crude madness we live in every day, and that alone is enough to rate our rapt attention.