Bodies Bodies Bodies is not a typical slasher movie. It has a twist ending that changes the initial perception and subverts expectations. The movie, despite being a horror movie, has a sense of humor, and is very aware of what it’s trying to achieve, even if some things don’t work. Directed by Halina Reijn from a screenplay by Sarah DeLappe (from a story by Kristen Roupenian), Bodies Bodies Bodies is filled with great dialogue, an interesting plot, and social commentary sure to make for some fantastic conversation.
Bodies Bodies Bodies: Movie Review
On the eve of a hurricane, a group of twenty-somethings gathers for a weekend of fun. Sophie (Amandla Stenberg) – whose stint in rehab has estranged her from her friends – and her friend Bee (Maria Bakalova) join David (Pete Davidson), Jordan (Myha’la Herrold), Emma (Chase Sui Wonders), and Alice. (Rachel Sennott), along with her older friend Greg (Lee Pace).
However, once Sophie arrives, tension reigns. It didn’t take long for viewers to discover that there was a lot of bitterness and unresolved issues between the friends. When Sophie suggests they all play a game called Bodies Bodies Bodies, things start to get out of control. However, when one of the friends is murdered, they all become paranoid and scared, turning on each other in an attempt to discover the identity of the killer.
Bodies Bodies Bodies is funny at times, with dialogue that is funnier than may have been intended. It also has a lot to say about everyone being too online, social media culture, toxic masculinity, and creating a digital identity that is disconnected from reality. It doesn’t have much to say about these things, but they are built into the plot and woven into the characters’ relationships. Horror is at its best when it explores the dissonance between characters struggling to even hold a conversation.
They speak together as one text, half-formulated thoughts and sentences that are no more than a few words. The weekend is meant to bring them together, but something is missing, their distance and distraction are evident from the start. It’s no coincidence that it spins when it loses signal. The digital world drives a wedge between friends who can’t be real with others outside of their screens and work overtime to convince each other of the lies they want to believe to be true.
Despite the interesting premise and themes of the movie, it sometimes doesn’t seem dark enough. Sure, friends are mean, but their words don’t cut as deep as they could. There is so much between them, including anger and resentment, but it only comes to the surface towards the end, with only a few characters fully letting go and spewing their unfiltered feelings towards their friends.
Bodies Bodies Bodies doesn’t overstay its welcome, but it could have benefited from a longer setup before the grisly killing starts. However, the shocking twist at the end deserves an instant replay because it changes everything we’ve witnessed before. The script, coupled with Reijn’s direction, works well together to create a story that reflects the reality of essentially being married to a phone.
Jasper Wolf’s cinematography gives the movie a sense of foreboding and the look itself echoes that of someone scrolling through a phone in the dark. It’s noticeable that the cellphone light is usually the only glow shown on screen, a clever way to keep the movie’s overarching themes on display.
Bodies Bodies Bodies isn’t exactly surprising, but it excels when the focus is more on character dynamics than horror elements. The performances—from Stenberg’s escapism as Sophie to Sennott’s comedic timing as Alice—are excellent, adding to the characters’ layered relationships and elevating the movie. The slasher movie doesn’t pigeonhole itself, it thrives on social commentary and adds tension and humor.
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