Sophie (Amandala Stenberg) tells her new girlfriend, Bee (Maria Baklova), in the horror film A24, “They’re not the nihilists you see on the Internet.” bodies bodies bodies, when they go to attend a gathering with Sophie’s friends. Sophie and Bea are six weeks into their relationship, and go to a house party at the family mansion of Sophie’s best friend David (Pete Davidson). They plan to ride out an oncoming storm, but Sophie’s mysterious whims are a similar disaster: it turns out that her “not as nihilistic as it seems” friend group isn’t even expecting her to show up. Arrive with very little one, mate they don’t know. Seeing as how quickly the escape turns into bloody mayhem, this is a bad time to be the new girl in the crowd.
bodies bodies bodies The movie is not exclusively internet driven; The storm quickly hits the power at David’s house, and cell service and Wi-Fi go down with it. The most controversial arguments focus on semi-private trivia, not public-facing tweets. But Sophie’s initial attempt to soften her friends’ friction goes spectacularly wrong as the night goes on for viewers. It’s true that these people don’t seem particularly nihilistic. Also, they are all surprisingly willing to suspect each other of murder.
bodies bodies bodies What begins as a social-anxiety drama, not vice versa shiv baby, Symphony of the Uncomfortable, starring Rachel Seynott, who also appears here, steals scenes as Sophie’s friend Alice. The film also introduces Emma (Chase Sue Wonders), who is dating David; Jordan (Maha’la Harold), who interrogates almost everyone; and Greg (Lee Pace), an older man Alice has been with for an even better window than Sophie and Bea. Aside from Greg, the characters occupy an ambiguous kind of adult age range. Given their reckless substance abuse and carelessness with each other, they are somewhere still young and very old.
Watching them sneak up on each other, it’s striking to think about how canned and overly scrubbed most horror-movie friend groups are by comparison. bodies bodies bodies eventually emerges as horror; It also begins with a parlor game, a flashy gimmick like anything in the second-level Blumhouse title, although director Helena Reason and screenwriter Sarah Delappe (working from a story “cat person” author Kristen Roupenian) doesn’t show much interest in sticking to this framework. Shakti turns on the signal, and the friends go from looking for a fake killer to a real one when someone is actually dead. (There’s a bit of meta-suspense to it over which semi-celebrity artist would surprise the first victim.)
from there, bodies bodies bodies starts playing like a compress the Scream, of such pace as the filmmakers believe they are playing for a generation that cannot keep both eyes on a full-length feature film. Filmmakers make compelling choices to cobble together both the bloodshed and the absurdity. Instead of letting the satire give way to horror-movie tension, they make the repetition and defensiveness louder and more ridiculous, while simultaneously making the characters feel more threatened. At one point, the mortal crisis is interrupted by the equally shocking betrayal that one friend may end up listening to the other’s podcast with a hate-monger.
However, it seems possible that the film switches freely between the satire edge and the knife edge as it ultimately doesn’t have much to say in either mode. Sometimes, it’s a relief that dead body It doesn’t seem to have any broad metaphor up its sleeve. In one scene, the characters buzz each other in their fear and anger, as if furiously rebuking David’s initial complaint that the word “gaslighting” has lost its meaning. (The film doesn’t turn social media into hooks, but its language is pretty much online.)
All the cast is solid, but Cenot is particularly funny as Alice, who personally processes every terrifying turn against her in the slightest. After all, the film is more a mischievous thought experiment than an attack on zoomers; It essentially asks, “What if people who were hyper-conscious about their own triggers and trauma had to react to a terrifying turn of events in a horror-movie?”
But as the film progresses, the horror aspect doesn’t quite hold up. Region’s glowsticks-and-flashlights lighting aesthetic is neat at first, but the shaky-cams, close-ups, and streaks of harsh light ultimately call attention to found-footage horror, without the unnecessary sense of reality provided by that subgenre. brings in. Better Entries. This, too, is for a movie called bodies bodies bodiesSurprisingly neutral is how young people use, abuse and manipulate their bodies, and how this can play into their physical reactions to danger.
The understandable but manipulative tendency of the creators is instead to play Signal with characters. That means Bee, one of its most potentially interesting characters, has to remain relatively opaque, to preserve some mystery in a film that begins to run out of suspects very quickly. Despite the proximity of the camera, it is a horror film; Reason and Delappe aren’t so much interested in hunting down real fears as laughing to confirm any suspicions that yes, your friends secretly talk about you. bodies bodies bodies Those well-established concerns are a fun ride through, but as the end credits roll, some viewers are still waiting for more punch — or a better punchline.
bodies bodies bodies Opens in limited theatrical release on August 5, with a nationwide release on August 12.