Bodies Bodies Bodies movie review (2022)

This openness is really a bold venture here, which Sarah DeLappe‘s script (from a story by Christian Roupenianthe author of the wildly popular The New Yorker short story, Cat person), doesn’t exactly offer a likable group of personas. Played by an electric Amandla Sternberg (“The hate you give“) and the wonderful”Borat Sequel motion picture” outbreak Maria Bakalova respectively the aforementioned snoggers Sophie and Bee are the first two in the group we are going to meet. With little snippets of information here and there, we discover that they are in a fairly new relationship, on their way to a house party at the very rich David’s (a jerk) mansion Pete Davidson), Sophie’s best, long-time friend. Also in the mix would be Pete’s posey girlfriend Emma (Chase Sui Wonders), the competitive go-getter Jordan (Myha’la Herrold) and the fiery Alice played by an intensely bold, charismatic and present Rachel Sennott (“Shiva baby”), the easy standout for the cast as a howlingly ignorant podcaster who can afford to talk a little less. The odd one out in a sea of ​​twenty-somethings is Alice’s much older boyfriend, the 40-year-old Greg (Lee Pace).

With the exception of the unassuming Bee, they are all excruciatingly rich people, you see. But their money still can’t hide the pettiness running amok among their ranks. Resentments begin to emerge as soon as Sophie and Bee enter the grand mansion to everyone’s shock. Why didn’t Sophie reply to the group chat and confirm her attendance? Who is the bee she brought? (With lingering feelings for Sophie, Jordan seems particularly bitter about Bee’s presence.) It all feels like a perfect storm of anger among the group, only surpassed by the real hurricane approaching, the real catalyst for the house party filled with booze, drugs and silly games to be played in the dark.

Being the boss of these games, the murder-mystery theme Body Body Body sets all the debauchery in motion across the estate’s impressive chambers. Before we know it, the posse loses all power and bloody bodies actually begin to fall one by one against the backdrop of a raging storm and Disasterpeace’s increasingly alarming score. Work withMonos” cinematographer Jasper Wolf, Reijn makes terrific use of every nook and cranny of the house’s beautiful interior, nimbly navigating a maze of edge-of-the-seat intrigue, a decent dose of scares, and a genuine sense of humor. Any effective slasher — at least as good as the original “Scream,” which gives “Bodies Bodies Bodies” generous amounts of its DNA — is a dance between what the camera shows vs. choose to hide. Well-versed in genre lingo, Reijn keeps you guessing here, sometimes even making you wish you could rewind to a few seconds ago and rewatch what just happened. (Needless to say, “Bodies Bodies Bodies” is a great candidate for repeat viewings in the theater once you take in its unexpected reveal, thanks in no small part to its sensational ensemble cast.)

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