In Dutch director Halina Reijn’s freewheeling and sharp horror comedy bodies bodies bodies, Gen Z characters are slit, fall from the top of a ladder and are shot. Yet for these twentieth party people who have gathered in a secluded New York mansion to ride out the oncoming storm, there is nothing deadlier than a well-delivered disgrace. And there’s a lot to go around in this razor-sharp skewing of group dynamics in the digital age. It’s happening on a rain-drenched night, bodies bodies bodies TikTok is a tense and increasingly violent eviction of friendships built on a weak foundation of dance and group chats. Featuring a rock-star collection of young actresses led by Amandla Stenberg (the hate you give), the film uses horror tropes to address the insecurities and suppressed resentment of friends whose insecurities and repressed resentment are all the same.
Region starts off by deftly introducing each character and whatever annoying personality trait will become most important as the evening breaks down. Sophie (Stenberg) is the last member of his faction to be pulled up to the dark and wooden mansion, where he and his girlfriends will drink, rail, and hook up while a powerful storm drenches the area. Upon arrival, Sophie is reprimanded for not participating in their group chat. The fact that she’s been in rehab barely counts as an excuse. A newcomer with Sophie, his freshly made, middle-class girlfriend B (from Maria Baklova) borat baadi moviefilm), who is so shy and unmarried in the ways of these vipers that she brings zucchini bread as a thanksgiving gift.
The mansion is owned by the family of the ultimate punch worthy David (played by supreme punch worthy Pete Davidson, wearing a pink tracksuit he probably brought from home), whose combative attitude sets the tone for the evening. He tears up his girlfriend, Emma (Chase Sui Wonders), for not having an original idea in his head. He then gets furious with Greg (Lee Pace), who is Alice’s Tinder boyfriend (much older than Rachel Cenote). shiv baby) he’s an airheaded podcaster whose podcast sounds awful, a scene backed by Sophie’s ex-girlfriend, Jordan (Maha’la Harold), who can only hate-hear it. Neither of these supposed friends is very fond of each other, but they remain connected as the social pecking order demands it, which, according to Alice, is “the suffocating weight of our shared history”.
Working with cinematographer Jasper Wolf, Reason creates a deeply oppressive, pressure-cooker environment that is ripe for explosion under the proper conditions. This is what happens when the group plays a game of body body bodies, which involves turning off the lights until the designated killer “murders” someone by tapping on their back and then the survivors guess. When one of the party-goers is actually dead and the storm knocks out power and cell service, everyone panics, the blame is passed around, and the virtues are signaled, awakening, and performing. The allies that Gen Xers use to define themselves become weapons of suspicion and ridicule. ,
As body counts rise and women begin to distrust each other more, the foundations of the discussions on which they have built their identity begin to weaken rapidly. Forced and without any condescension, screenwriter Sarah DeLappe finds room for all those empty phrases that inflate the socially conscious authenticity of young, upper-class snobs. Emma seems petty and petulant, throwing around words like “gaslighting” and “toxic,” while Sophie calls for being triggered. The neurotic Alice claims she has body dysmorphia, as if being a victim of any kind is a mic-drop excuse for all bad behavior.
Reason, however, isn’t shaming her characters for any of this, nor is she attempting a Boomer-approved takedown. The film is more observational than scathing criticism, and there are moments when we’re not sure if that’s a problem — or a point. All this mayhem never really adds up to much, as if calling out Gen Z for the folly of their well-intentioned flaws was enough. And yet, that’s enough, thanks to the film’s play and hard-working cast. The charismatic Sennett leads the pack, proving herself to be a formidable physical comedian, while Bakalova, as a foreigner who attracts a great deal of suspicion from others, maintains her outward calm so well that she Pole is in position to become the killer.
Region, whose last directorial effort was natural instinct, the Netherlands’ Oscar submission for Best International Feature Film of 2019, directs with a loose, improvisational energy. If she keeps a very loose grip on Reigns, sometimes spoils the scenes, adding yet another surprising or biting line of dialogue to get things back on track. While there is a lot of blood and gruesome murders, Region is not here to provide a true horror movie experience. The hunt for the killer, which ends in a hilarious twist, is an excuse to crack down on a bunch of hypocritical, virtuous-signaling culture warriors until the turmoil of their beliefs is exposed.
With its biting, class-aware humor and soaring body count, bodies bodies bodies There is the intersection of a large scale Venn diagram that would include the movies: mean Girls, heathers, and then there were nonI, Lord of the Flies, exorcist, and also rules of the game, All those movies traffic in fear and insecurities within a group. bodies bodies bodies, deftly and with abandon, adds social media-fueled protestant awakening to the mix and makes a damning case for their limitations in the real world. If there’s any way in the movie, it’s that a TikToker’s DEI-hugging identity is as strong as their Wi-Fi signal.