The worst party imaginable: a review of “Bodies Bodies Bodies”

Sophie Henry

It’s nearly impossible to claim that any particular movie defines a generation — especially our complicated generation. But it’s equally hard to argue that Halina Reijn’s “Bodies Bodies Bodies” is anything but.

“Bodies Bodies Bodies,” a 94-minute horror/comedy film, follows a wealthy group of friends who have grown significantly apart over the years from their teenage years and into early adulthood. In the spirit of Gen Z’s toxic digital space, the upper-class group of friends – detached from reality – throw a hurricane party in a mansion brimming with cocaine, booze, and murder. What is initially considered an innocent game in this unspecified location, ominously resembling the 2020 phenomenon “Among Us”, becomes a night filled with life-changing secrets hitting the surface and a relentless stream of bodies hitting the ground. .

The film skillfully reveals a horror not just of the wealthy but of human relationships as a whole. If there’s one villain to identify in the film put together by a fearlessly talented team, it would have to be toxicity: toxic friendships, toxic wealth, toxic influence, toxic love, toxic self-indulgence, or even literal chemical toxins.

There’s never a point in the film’s runtime where audiences can truly trust what they’re seeing on the big screen. Whether audiences don’t believe protagonist Sophie truly loves girlfriend Bee or wonder if fellow actress Emma ever shows real emotion, “Bodies Bodies Bodies” makes it clear that relationships in the digital age and its toxic elements are a mystery filled with wonderful tension, comedy, and horror for any performer to explore.

What solidifies the film’s excellent screenwriting and thoughtful direction is its powerful cast. Just eight actors and actresses, all with distinct knowledge of each character’s nuances and conflicts, make for a brilliant mess unfolding before the audience’s eyes.

Amandla Stenberg and Maria Bakalova hold the audience spellbound. The pair feature just enough innocent concerns and questionable quirks. When Bakalova plays the lower-class impostor of the group of wealthy friends, she captures her subtle physical habits of vanity by fixing her hair and checking her makeup amid the group’s discovery of corpses. Chase Sui Wonders delivers an emotionally complex and layered portrayal of Emma, ​​a young woman obsessed with faking feelings for others, reminiscent of her work in HBO Max’s recently deleted TV series “Genera+ion.” Both Myha’la Herrold and Rachel Sennott have one of the best production lines ever in a comedy-horror film. Pete Davidson portrays a jealous man, David, and Lee Pace’s portrayal of Greg proves why David’s jealousy is likely. Pace’s excellent portrayal lets you defend Greg as confidently as Sennott’s character Alice: “If he says he’s a rising Libra moon, he’d have no reason to kill whoever.” whether it be.”

A film filled with mistakes, generation-defining language, and over-the-top indulgence gives way to an incredibly engaging investigation into many aspects of today’s society. It also simply provides an entertaining viewing experience with Charli XCX’s awesome “Hot Girl” movie soundtrack. The film doesn’t try to push its genre to new heights or complexities. On the contrary, he makes himself incredibly comfortable in the multiple genres he finds himself in. By its quality and intent, “Bodies Bodies Bodies” defends itself against particular criticisms of superficiality or hyper-sexualization, suggesting, as the ending says, that we are all taking a step back from TikTok.

As of the publication date of this article, “Bodies Bodies Bodies” is screening at the Bow Tie Criterion Cinema at 86 Temple St.


Christion Zappley is currently Senior Producer in the Podcast Office. He previously worked for the “Full Disclosure” series and currently directs “The Rundown” series. Originally from Charlotte, North Carolina, Christion is a sophomore at Davenport College majoring in English.

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