TeaHere’s a lot of bad summer fun to be had at A24’s out-of-the-moment slasher Bodies Bodies, a mix of gore and gaffes that aims to give the same poppy joe that Scream did back in 1996 when the genre gained ground. was making a surprising resurgence. But while recent hits like Halloween Kills and Scream 5 have mostly conjured up nostalgia, the same old hits, stabbings and beheadings, Dutch director Halina Reijn’s English-language debut asks the difficult question whether anything really exists. new Most of us know this, or maybe even, well, to do with the stalk and slash format. After a mostly effective 95 minutes, the answer will probably be?
Based on an original fantasy script by Cat Person writer Kristen Roupenian and later given a dramatic rewrite by Pulitzer finalist and playwright Sarah DeLappe, Bodies Bodies Bodies is a very old dog with a fascinating new trick up its sleeve. The setup is one that leans big into delightfully, familiar whodnit-cum-slasher tropes—a group of friends, a remote old house, a menacing storm—but is a novel, if not entirely surprising, final-act. The twist that sets it apart from the crowd. I would say that once all the cards are played this is a movie that is easier to admire than to love, a trick to appreciate reluctantly rather than happily.
After another summer season of disappointingly yet highly publicized moments of LGBT representation (a look! a suggestion! a longing!), it was accompanied by an extended, closeup, full-tongued kiss between the two women. Introducing a fresh statement of intent. As with many elements of Body Body Bodies, it has no half-measures how it tackles its queer, two gay leads who lead into other gay flirtations and gay entanglements, yet another example of how the horror genre came to be. Is Embracing late queued characters (See also: they/them, Fear Street Trilogy And M Night Shyamalan’s NextIt’s a big trip for Bea (Maria Bakalova), who is nervous to visit the friends of his new girlfriend Sophie (Amandala Stenberg), the pair mother to Sophie’s obnoxious childhood best friend David (Pete Davidson). – Goes to the grand mansion owned by the father. But they’ve been met with jaw-dropping numbers by the group (Mihaela Harold of the industry, Rachel Cenote of Shiva Baby, generation Survivors Chase Sui Wonders and Lee Pace) There are obvious, strange surprises, as well as annoyances, that Sophie will show her face, especially when she’s been so incredulous at group text…
But as the storm takes hold, corruption takes hold, and the group drinks, smokes and makes its way into an uneasy truce. As the only sober person, having recently left rehab, a fun-hungry Sophie decided it was time for a game: Bodies Bodies Bodies. The rules are simple: Everyone gets a piece of paper, one is marked with an X, which means they’re the killer, and then the lights go out.
It doesn’t take long for the body to realistically accumulate, but what cements a familiar formula is an unusually firm grip on the character, something that even the best slasher movies fail to bother. In a genre where one’s surname equates to character development, there is some relative heft here with a clearly drawn-out set of, if vapid and/or deeply inappropriate, twentysomethings as faithfully bitching and jabbing to death. The count increases. The first, incredibly annoying, trailer There was something like a red flag, suggesting a film that confuses buzzwords with satire (Triggers! Safe space! Gaslighting!) but the script is far more distant and less spirited than implied. The movie isn’t trying desperately to provide any sort of social commentary/dissertation on Gen Z right now (the characters are just… more than they can really handle.
DeLappe’s distinctive and edgy dialogue gets an extra lift from one of the better-orchestrated ensembles in recent memory, with Sennott being the real standout, intensifying the comic support without overplaying, even throwing up. turns the lines into zingers (it’s just a tedious Davidson providing bomb notes, gratefully replaying to type). Many “cool” horror movies in recent years have been made with a certain icy removal, as if the goal is to impress rather than immerse, so it’s gratifying to see Ryzen lean into the terrifying extreme of a frightening situation with Agatha Christie’s location. will accept, and the sound of enough thunder will make us believe that a real storm is brewing around us. It is only in the final act that things begin to lag, as we move towards a reveal the film is not fully equipped to deal with, a twist that requires major lapses in suspense and tension, as I can’t get into it. It hinges on a moment of absurd comedy at the end that didn’t work for me, and the overwhelming feeling that’s left is emptiness. It’s nifty but dramatically unsatisfying.
Whodunnits require so many moving parts that are expertly placed and played along, and ultimately, the script isn’t as smooth as it should be with an ambitious board. The game is a fun one, but you might feel a bit cheated after it’s over.