Capitalism’s end game is taunted and satirized in “I Love Boosters,” a loopy, anarchic comedy about shoplifting, fashion, media mass indoctrination and This Cultural Moment.

The latest from the rapper and songwriter turned filmmaker Boots Riley (“Sorry to Bother You”) has a touch of “Everything Everywhere All at Once” sci-fi and “One Battle After Another” energy. But just a touch. Sweeping up everything from teleportation to a succubus, generational angst (Gen Z and Alpha, mostly), pyramid schemes to con the poor, draconian Chinese labor practices and a parade of TV interviews with “fake” gig workers and apartment renters extolling the virtues of not making enough money to live on and the evils of rent control, it’s all a bit out of hand and yet furiously on the mark.

“Everything ‘they’ told us we could rely on seems so temporary these days.”

Not all of it works and pacing and flow call attention to themselves when the picture lurches into lower gears. The targets are recognizable in daily life in 2026, even if the means of “resisting” the villains stumble into the sci-fi fantastical

But Riley rounded up a winning cast, giving Keke Palmer her most glamorous and dressed-to-kill leading role and landing Don Cheadle, Eiza González, Will Poulter, Taylour Paige, Naomie Ackie, Popi Liu and LaKeith Stanfield in support.

And as the entitled, smart, rich and predatory designer Christie Smith, Riley serves up Demi Moore at her most villainous and most grandiose.

“I drape bodies that become a human landscape,” she bellows, a line that the “Devil Wears Prada 2” crew would have killed for.

Palmer plays “Corvette,” a Bay Area fashionista who dresses in her own fashion-forward creations and dazzles as she does. She may be using a silly fake name and squatting with her running mate Mariah (Taylour Paige of “Zola” and “Beverly Hills Cop: Axel F”) in a derelict fried chicken joint. But there’s always time for hair, makeup and dressing well.

Because these ladies — with fellow “crew” member Sade (Naomi Ackie) and other decoy “shoppers” — are professional “boosters.” You want to shoplift in high end couture shops like icon Christie Smith’s Metro Design, you have to “pass” for a customer with money. Especially if you want to stuff so much clothing down your track suit that you look like the Michelin Man’s pretty-in-pink sister as you waddle out.

The media has just enough shop-provided CCTV footage of the thieves in action to give them a name — “The Velvet Gang.” Christie takes their pillaging personally. She’s a former science prodigy who made her killing in designer clothing, and these boosters “are reducing our margins.”

Riley writes a clever scene that puts the predator and the prey in the same room, with Christie giving a disguised Corvette career advice that plays like a moment of “sisterhood.” The “first rule” of managing people?

“You never let them see you’re f—ing managing!“

Corvette is convinced that one of Christie’s new outfits was swiped from her Instagram post of her own version of that design. It’s game on, time to bring down the titan of the fashion industry.

But there’s competition in the rob-Chrstie-out-of-business game. This brassy Chinese woman (Popi Liu of TV’s “Hacks,” “No Good Deed” and “The Afterparty”) seems to be ducking into stores and literally vacuuming dresses off the racks. Turns out, she’s got stolen Chinese tech that she’s using to rob Christie and highlight the awful pay and working conditions in the clothing factory where she and others slave away to make Christie’s creations.

The “teleportation device” prop kind of hijacks the picture as writer-director Riley would rather embrace the gimmick than struggle to find something hopeful to say about mistreated store employees (Eiza González, Najah Bradley) finding common ground with exploited Chinese garment laborers.

Considering the many targets Riley passingly singles out as part of “The Problem.” Moore’s Christie quite righltly complains about being singled out . “Why (only) my s—” is being pilfered?

Palmer anchors the narrative with her vengeance-seeking fashionista who might discover feminism if she learns to listen instead of just lashing out and taking charge.

LaKeith Stanfield finds laughs as the misty-eyed model who always gives the ladies what they want — with a catch. Cassandra, aka Corvette, isn’t falling for it.

Will Poulter does his best “Are You Being Served?” gay clothing store manager. And an almost unrecognizable (heavy makeup, fat suit) Don Cheadle plays a pyramid scheme guru without the polish or digital distraction of “crypto” in his spiel.

It’s all more cluttered than you’d like, but that’s implicit when the filmmaker is reaching for “anarchic.”

The more solid than silly performances and a whimsical production design belp. There’s a Leaning Tower of San Francisco apartment high rise for the richie riches, chases down streets even steeper than the ones you find in real life San Francisco and Cassandra’s nightmarish vision of the Indian Jones boulder that her life has given her, a crushing ball of bills, eviction notices, old cell phones and the like that follows and pursues her as she scrambles to make that Big Score.

“I Love Boosters” makes a fine down-market, down-and-dirty and more pointed take on the Fashion Industrial and Media Complex than any “Devil Wears Prada” outing. I won’t say it’s funnier, because it isn’t. But Riley’s film gives you a few things to chew on between succubus sex scenes, teleportations gone awry and the Big Debate of any given fashion season.

Is it turquoise, or just plain “aqua marine?”

Rating: R, violence, sex, nudity, profanity

Cast: Keke Palmer, Taylour Paige, Naomi Ackie, LaKeith Stanfield, Popi Liu, Eiza González, Alan Z, Will Poulter, Don Cheadle and Demi Moore

Credits: Scripted and directed by Boots Riley. A Neon release.

Running time: 1:40