Our bodies Our bodies Our bodies Evaluation – Gen Z comedian horror performs a enjoyable sport | Horror motion pictures

Tthere’s plenty of wicked late summer fun to be had in A24’s latest slasher Bodies Bodies Bodies, a mix of gore and guffaws that aims to deliver the same poppy jolt that Scream did back in 1996 at a time when the genre is gaining. surprise resurrection. But while recent hits like Halloween Kills and Scream 5 are largely nostalgic, rehashing the same old hits, stabbings and headlines, Dutch director Halina Reijn’s English debut begs the question hard is anything really. new associated with the stem-and-slash format that most of us know so, or perhaps too, well. After a mostly effective 95 minutes, the answer would probably be?

Based on a distinctive original script by Cat Person author Kristen Roupenian followed by a dramatic rewrite by Pulitzer winner and playwright Sarah DeLappe, Bodies Bodies Bodies is a very old dog with a flashy new trick up its sleeve. The set-up is one that leans heavily, pleasantly, into the familiar whodunnit-cum-slasher tropes – a group of friends, an isolated old house, a threatening storm – but there is a twist in the last essay, if not entirely surprising. that separates it. from the crowd. I’d say that when all the cards are played, it’s a film that’s easier to judge than to love, a trick to grudgingly praise rather than enjoy.

After yet another summer season of yet-too-publicly frustrating moments for LGBT representation (hope! Praise! A longing!), it’s a fresh statement of intent to start with an extended, intimate, full-tongue kiss between two women. . As with many aspects of Bodies Bodies Bodies, there are no half measures in how it deals with its queerness, two gay leads that continue to have other gay flirtations and gay entanglements throughout, yet another example of how the genre was horror. accepting queer characters of late (see also: They/Them, the Fear Street trilogy and M Night Shyamalan next). It’s a big trip for Bee (Maria Bakalova), nervous to meet the friends of his new girlfriend Sophie (Amandla Stenberg), the two drive up to the prestigious house of the parents of Sophie’s best childhood friend, David (Pete Davidson ). But the group is met by drowned hostages (industry’s Myha’la Herrold, Shiva Baby’s Rachel Sennott, Generation (Chase Sui Wonders and Lee Pace) survived, shockingly surprised, as well as annoyed, that Sophie would show her face, especially after being so unreliable on the group text…

But as the storm rolls in, the banter takes over, and the group drinks, throws and snorts their way into an uneasy truce. As the only sober person, having recently left rehab, a hungry Sophie decides it’s time for a game: Bodies Bodies Bodies. The rules are simple: everyone gets a piece of paper, one is marked with an X, meaning they are the killer, and then the lights go out.

Bodies soon begin to pile up, but what drives a familiar formula is an unusually tight sense of character that even the best slasher films can’t shake. In a genre where character development is a byword, there’s some relatability here with a series of vividly drawn, if volatile and/or deeply unlikable things, bleating and gurgling as the death toll mounts . The first trailer, extremely annoying, it was something of a red flag, suggesting a film that confused buzzwords with satire (motivation! safe space! gaslighting!) but the script is far more backward and less mean-spirited than implied . The film isn’t trying to provide any kind of commentary/social commentary on Gen Z right now (the characters are just… more than they can really handle.

DeLappe’s specific and spiky dialogue gets a further lift from one of the best-orchestral ensembles in recent memory, with Sennott the standout, providing witty support without overplaying, turning even throwaway lines into zingers (he’s not but rather tedious Davidson provides the bum. notes, playing gratefully to type again). So many “cool” horror films have been made in recent years to remove some ice, as if the goal is to impress rather than immerse, so it’s satisfying to see Reijn go to the extremes of the situation. sinister with the setting of Agatha Christie. approved, and enough thunderous sound to make us believe that there is a real storm raging around us. It’s only in the last act that things start to go from bad to worse, as we head towards a revelation that the film is ill-equipped to deal with, a twist that demands major credits in suspense and tension for reasons I can’t get into. It relies on an absurd comedic moment at the end that didn’t work for me, and the overwhelming feeling left is emptiness. It’s nice but extremely unsatisfying.

Whodunnits requires so many moving parts to expertly sit and play with, and, ultimately, the script isn’t as slim as it needs to be for a table as ambitious as this. The game is fun, but you might feel a little cheated when it’s over.

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