Bodies Bodies Review – Gen Z comedy horror game play a fun game | horror movies

THere’s plenty of wicked late-summer fun in A24’s slasher Bodies Bodies Bodies, a mix of blood and giggles meant to deliver the same poppy that Scream was in 1996 as the genre receives a sudden resurrection. But while recent hits like Halloween Kills and Scream 5 have mostly undone nostalgia, bringing back the same old hits, stabbings and beheadings, Dutch director Halina Reijn’s English-language debut begs the difficult question of whether anything truly. the new Related to the stalk-and-slash format most of us know, or maybe also, well. After mostly 95 minutes, the answer might be maybe?

Based on an original script by Cat Person writer Christine Robinian, and later awarded a dramatic rewrite by Pulitzer definitive author and playwright Sarah Dilap, Bodies Bodies are a very old dog with a glamorous new trick up their sleeve. The setting is one that leans largely, amusingly, on the familiar metaphors of the monster—a group of friends, a distant old house, a menacing storm—but there’s a narrative, if not entirely surprising, recent twist that separates it from the crowd. I would say once all the cards are played, it’s a movie that’s easier to like than to like, and a trick to grudgingly encourage rather than encourage.

After another summer of frustratingly shy, publicist and over-LGBT moments (look! Proposal! Longing!), it’s a refreshing statement of intent to begin with a long, close, full-tongued kiss between two women. As with many Bodies of Bodies, there are no fair procedures in how she handles her instincts, two gay leads who proceed to have other gay courtships and entanglements with gays all over, and this is yet another example of how to embrace this kind of Horror Queer Late Characters (see also: They/them, Fear Street trilogy and the next M Night Shyamalan). It’s a big ride for Bee (Maria Bakalova), nervous to meet the friends of her new best friend Sophie (Amandla Stenberg), as the couple leads to the opulent mansion owned by Sophie’s parents childhood best friend David (Bet Davidson). But they are met by the group (Industry’s Mahala Herold, Shiva Baby’s Rachel Sinnot, and Generation Survivor Chase Sue Wonders and Lee Pace) with palpable surprise and embarrassment, as well as annoyance, that Sophie will show her face, particularly after being so unreliable in the group’s script. …

But as the storm rages, immorality takes hold, and the group drinks, smokes and makes their way toward an uneasy truce. As the only sober person, after recently leaving rehab, fun-hungry Sophie decided it was time for a match: Bodies Bodies. The rules are simple: each person gets a piece of paper, one with an X marked on it, which means it’s the killer, and then the lights go out.

It doesn’t take long for the bodies to really start to pile up, but what invigorates the familiar formula is an extraordinarily strong understanding of the character, something that even the best horror movies fail to tease. In the genre where the person with a title lives up to character development, there’s some relative weight here with a clearly drawn cast of characters that, if loosely and/or deeply unpopular, your twenties falter and shake believably as the death toll rises. . The first trailer, incredibly disturbing, was a red flag, suggesting a movie that mixes buzzwords and satire (turned on! Safe space! The movie isn’t desperately seeking to provide any kind of social commentary/thesis on Gen Z at the moment (the characters just…) which is so much better for him, especially at a time when horror movies are getting increasingly clumsy. than they can really handle.

DeLappe’s specific, spiky dialogue receives added boost from one of the best curated combos in recent memory, with the truly outstanding Sennott, who commands comedic backing without over-playing, and even turns dashed lines into zingers (it’s only the somewhat boring Davidson that provides a bum. notes, plays with a squeak to write back). Several “cool” horror films have been made in recent years with a certain icebreaker, as if the goal was to impress rather than indulge in immersion, so it’s gratifying to see Reijn lean into the most sinister position with Agatha Christie they would agree, and the voice of Loud enough to make us think there’s a real storm swirling around us. It’s only in the final chapter that things start to lag, as we head toward revealing that the movie isn’t quite equipped to handle, a development that requires huge gaps in suspense and tension for reasons I can’t get into. It’s based on a moment of absurd comedy at the end that didn’t work for me, and the overwhelming feeling one left is emptiness. It’s elegant but not overly satisfactory.

Whodunnits requires many moving parts to be expertly placed and played with, and in the end, the script isn’t quite as elegant as it should be with an ambitious board like this. The game is fun, but you might feel a bit cheating once it’s over.

Leave a Comment

Your email address will not be published.