Bodies Bodies Bodies

Rich, coked out American millennials become a cavalcade of corpses in Halina Reijn's new film Bodies Bodies Bodies.

“What next?” he says, “Are you going to call me a narcissist?” Everyone is stuck in a loop of hyper-communication and decontextualized therapy-speak. The more interesting question, however, is what does she think of all these rich Americans coked out and diagnosing each other like TikTokers with a degree in anything but Psychology? Although the screenplay may not have written Bee as a foreigner, it is a pity that the filmmakers never expand her point of view. That the drama itself is textbook proves to be the film’s weakness. When a body is discovered, they shout “bodies bodies bodies.” Then, they try to suss out the guilty party. What the couple Sophie (Amandla Stenberg) and Bee (Maria Bakalova) like about each other is what every couple in the film seems to share: they’re hot and ready to fuck — mutual interests, compatibility and emotional availability be damned. But without the comforts of cell service and a heated pool, where do all the good vibes go?

'Bodies Bodies Bodies' director Halina Reijn and cast members Amandla Stenberg, Maria Bakalova, Rachel Sennott, Myha'la Herrold, Chase Sui Wonders, ...

“I just think that she wants to be better than them,” says Herrold. “I think she fears being perceived as one of them, so she takes on a way of being so that visually it doesn’t seem like she’s like them, but she is a lot like them.” “There’s such a small gap between the experiences that we have and then the relationship that we have now to broadcasting those experiences in a presentational way to the world, so once that element is taken away where the internet is gone and there’s no invisible audience, then it’s revealed that the basis of [these characters’] relationship is quite fragile.” I think Gen Z is incredibly sophisticated and intelligent and probably has had the most access to information that any generation has had,” says Stenberg. “It’s also important to laugh at the parts of ourselves that are flawed and hurting and strange, especially because we have no previous conception for any time or culture like this.” And when it comes to scary movies that play upon real-world fears, the idea of confronting the capacity for evil in all of us, the potential we all have to cause immense harm to the people we care about—that’s the greatest horror of all. It’s clear that David, Emma, Sophie, Alice, and Jordan no longer know each other as well as they did when they were growing up together, but one thing they still have in common is that they “are definitely deeply afraid of acknowledging their own privilege,” says Stenberg. As far as she’s concerned, that’s where the movie’s humor comes from. The friends at the core of Bodies, Bodies, Bodies have fully bought into that worldview: in a scathingly clever indictment of social justice-obsessed internet culture, the script by Sarah DeLappe is chock-full of wellness-oriented internet slang like “safe space” and “toxic,” and the characters relentlessly fling accusations of “triggering” and “gaslighting” at each other. Like so many of us, the characters of Bodies, Bodies, Bodies are more concerned with saying or doing the “right” things in front of an audience than with actually figuring out how to be good people. “The fact that there are large swathes of people who believe that they are somehow exempt from interrogating their own racism and sexism and misogyny because their intellectualism makes them feel like they are exempt from interrogating themselves—like, that’s hilarious to me.” As an outsider, not just to the friend group but also to their entire socioeconomic class, lower-class immigrant Bee’s presence illuminates the gap between who these rich kids say they are and who they actually turn out to be. To Reijn, the true villain is the feral, Lord of the Flies-esque groupthink that takes over the characters—just as it can also affect all of us, no matter how sophisticated we think we are: “Are we beasts or are we civilized? They call each other friends, and they say that they love each other, but they actually do not really know each other at all.” (During a particularly tense moment when the surviving characters are terrified for their lives, Sennott’s perennially unhelpful Alice turns to Sophie—a queer, Black recovering addict—and shrieks, “I’m an ally!”) “A big part of it is: how people will treat us, what people will think about us if we do not really fit into the norm of ‘this is good’?” says Bakalova. The glare of social media makes it hard to distinguish the pursuit of bettering ourselves from that of bettering others’ opinions of us—as Reijn puts it, “It used to be just actors growing up front of cameras, but now everybody grows up in front of cameras.” (The one exception is Sophie, who is freshly out of rehab—though she’s not exactly the healthiest decision-maker of the bunch to begin with.) With each new death, the group becomes more and more paranoid until the lifelong friends are all accusing each other of multiple murders. The best scary movies hold up a mirror to society—perhaps that explains why Bodies, Bodies, Bodies, the latest cool-kid horror film from A24, has become an immediate sensation.

A24 is set to bring out another whodunnit style of film in theaters in Bodies Bodies Bodies. Is the film worth checking out in theaters? We let you know.

There are bits and pieces of it that are downright incredible, but the third act was a mess which took away from the overall product. Of course, we have a few standout performances from Amandla Stenberg and Rachel Sennott, but for me, Maria Bakalova stole the show in this one. I believe heading into that third act, we were heading into one of the best movies of the year, but now, I am like, this is a really good movie that could’ve been great. I was a massive fan of how Halina Reijn shot the movie. Let me start with some of the things I liked about the film—first, the direction. When the film begins, we meet these unlikable young kids who are rich, full of themselves and don’t care about anything.

A young woman stands next to a truck, looking angry. Aubrey Plaza is doing crimes in Emily the Criminal. Roadside Attractions. For a brief period ...

And there’s the hiring manager who lies to her about not performing a background check in order to lure her into a trap. Not Okay is streaming on Hulu. Emily the Criminal is playing in theaters. Bodies Bodies Bodies is satirical, skewering the one-upsmanship of any highly privileged group of people who want to maintain their privilege on the one hand and speak in progressive idiom on the other. That also makes them a lot like the films of the Depression, barely 90 years later. In painting that picture, they capture a generation on the brink. Emily the Criminal hews most closely to the gangster film dynamic, with Emily drawn deeper and deeper into the operation. And like the gangsters of old, the system eats her alive. I wouldn’t go so far as to say that we’re experiencing a new age of the social realist picture, in part because Hollywood is mostly in the superhero and franchise business these days. In Not Okay, the villain is Danni, but she’s also the protagonist — not really an antihero, but certainly not someone you want to root for. So ultimately, gangster films were about the systems, institutions, and societies that create the gangster. For a brief period in the 1930s, after the birth of talkies but before the self-censorship of the Hays Code, Hollywood was fascinated with movies about a certain type of man: the gangster. The results weren’t always great — but from about 1930 to 1934, they could get people desperate for distraction in the door.

From director Halina Reijn, the new movie is described as a black comedy that features the talents of Amandla Stenberg, Maria Bakalova, Myha'la Herrold, Chase ...

The answer to this is almost certainly yes. Instead, Showtime currently holds the first window output deal with A24 and that’s set to continue through to November 2022. More importantly, will it be on Netflix? Let’s find out.

Fresh out of rehab, Sophie (Amandla Stenberg) also shows up unannounced with her girlfriend-of-six-weeks, Bee (Maria Bakalova), in tow. When the group decides ...

Sophie and Bee's relationship was doomed from the start, but the events of Bodies Bodies Bodies and its ending simply accelerated the inevitability. By the end of the movie, their relationship has been thrown into question, primarily due to the fact that Jordan reveals she and Sophie hooked up prior to the hurricane party. Jordan dies shortly thereafter, pushed over a railing by Bee. Bee and Sophie are the only people to survive what happened except for Max, who is missing for most of the movie. Throughout Bodies Bodies Bodies, the identity of Max remains in question, and he is the film's biggest red herring. By the end of Bodies Bodies Bodies, only two are left standing (excluding Max) and even though Sophie and Bee are alive, their relationship is seemingly in shambles. A24's Bodies Bodies Bodies is a twisty and hilarious take on the slasher genre, and it saves the biggest twist for its shocker of an ending.

Check out WGN's Dean Richards' ratings for the latest movies.

With dialogue from a Twitter think piece and enough messy deaths to satisfy any genre fan, Bodies Bodies Bodies is the perfect blend of horror and comedy.

Though Jordan isn’t a flat-out villain, there’s a fierceness to her personality (complimented by a firecracker of a performer in Myha’la Herrold) that’s unexpectedly and delightfully fresh for a female slasher character. Bodies Bodies Bodies does a surprising job of balancing empathy and comedy: not always going for the low-hanging fruit when it comes to character beats, but instead crafting an ensemble that stands on their own two feet outside of functioning as a critique of a specific group. Though the aforementioned franchises attack the subject with varying amounts of success, Bodies Bodies Bodies is without question the most true-to-life portrayal of Gen-Z 20-somethings that the horror genre has seen, not to mention the funniest.

In the genre of horror movies, there are some time-honored “rules” that almost always get broken, tropes that set the horror into motion: Don't go in the.

It’s a classic, stormy-night setup with a savage, subversively on-point new-age spin about kids with mega-money, arsenals of sassy ‘tude and easy access to just about anything—who are now faced with the grim reality of maybe losing everything, including their lives. Maybe the murderer is him…or her…or Max, who gave David a black eye, then left before everyone else got there. Everything, when the electricity punks out, the wi-fi crashes, and someone ends up dead with a slashed throat. Sophie (Amandla Stenberg, from The Hate U Give and the Hunger Games franchise), a recovering addict, arrives with her new lover, the shy “outsider” Bee (Maria Bakalova, previously Borat’s daughter), a working-class college student from Eastern Europe. They meet the others at the home of Sophie’s childhood friend, the dissolute David (SNL’s Pete Davidson), who’s there with his girlfriend, Emma (Chase Wonders), an aspiring actress. Don’t look in the attic! Don’t walk through the woods!

The A24 film stars Amandla Stenberg, Maria Bakalova, Pete Davidson, Lee Pace, Chase Sui Wonders, Rachel Sennott, and Myha'la Herrold as friends getting together ...

Bodies Bodies Bodies is now playing in theaters nationwide, a Gen Z whodunnit with a couple of really standout performances. They’ve certainly got a lot of explaining to do as the sole survivors. It’s a tough one to figure out, and everyone ends up looking suspicious in one way or another.

What's worth your time in TV and movies this weekend? EW's critics review 'Bodies Bodies Bodies,' a reinvented 'A League of Their Own,' 'Emily the Criminal ...

Once an aspiring painter and now a perspiring cater-waiter, Emily can barely pay off the interest on her student loans, and rarely leaves the house to socialize unless it's drinks with her one college friend (Almost Family's Megalyn Echikunwoke), whose thriving ad-agency career mostly serves to remind her of how bleak her own prospects are. If Nomadland was a tone poem about being poor, white, and female on the fringes of American life, Emily is more like a silent scream: a scrappy pitch-black study of just how easy it is to step into the void. For players like Greta and Carson and so many others, the league is a safe haven from a hostile society that shuns them and a legal system that jails them for the crime of "sexual inversion." (Pace is also a stealth MVP in his too-brief scenes, the archetype of Tinder-guy inanity.) Depending on your demographic, Bodies will probably either make you feel seen or utterly obsolete. In a world where online culture (these days, is there any other kind?) eats itself on a near-daily basis, some of the dialogue inevitably already shows its age; lines about triggering and being silenced feel too broad for the rest of Sarah DeLappe's nimble, knife-edged script. But the bright-young-things cast is wildly watchable, unpacking a nest of comic absurdities and deeper anxieties. And few films feel as extravagantly 2022 as Bodies Bodies Bodies, a blithe, ruthless slasher satire soaked in the digital-native lingo and dizzy Euphoria nihilism of Gen Z. After fleeing the dull domesticity of her life as a housewife in 1943 Idaho, Carson Shaw (Jacobson) lands a spot on the Rockford Peaches in the brand new AAGPBL league. Director Halina Reijn, a 46-year-old Dutch actress and veteran of far-out indies, doesn't stint on gleeful, preposterous Final Destination deaths, but her real focus lies in the fraught dynamics of the group — the thrum of class warfare, weaponized friendships, and old wounds simmering beneath the glowstick halos and sloppy hugs. For players like Max, however, no such sanctuary exists — so A League of Their Own follows her story on a separate track, rather than tossing her in with the Peaches through some anachronistic plot contrivance. Keaton seems to be having a ball with her pratfalls too, though you wish it wasn't all played so silly and flat-out conventional in the end: new broad, old tricks. Mack Martin (You star Elizabeth Lail) is a 30-year-old Los Angeles writer who pines for a life free from social media and destabilizing shoes; why can't she just fast-forward directly to a Golden Girls world of caftans and 5 p.m. cocktails?

Things get out of hand when a party game results in the murder of one of the partiers. What ensues is a whodunit mystery. Bodies Bodies Bodies stars Amandla ...

Which of these songs will you be adding to your playlist? Other than the synopsis, there are no spoilers ahead! Which songs play in the Bodies Bodies Bodies soundtrack?

Bodies Bodies Bodies, a murder mystery satire starring Amandla Stenberg and Pete Davidson, has become one of the summer's coolest movies, and one of its ...

Stevens: Even though in general I wait for this movie to be over, the ending was so satisfyingly mean and so bleak that I think it kind of made it worthwhile. Also I really felt for Lee Pace in this scene, and I was sad he was leaving the movie because Lee Pace is fantastic and his character was one of the most differentiated, if only because he was from a different generation and he seemed to have a different sensibility. To sort of impart this really earnest, grounded well-meaningness to the character but also to still play her up as a heightened, extremely dumb, extremely self-obsessed character is a really tricky thing to do. Goffe: All of the girls think that he’s a vet, as in a former person in the military, when it turns out that he was actually just a veterinarian. Goffe: She was found at the bottom of a set of stairs, so it’s very plausible that she could have just fallen down the stairs and her wounds really did look like blunt force trauma. Goffe: It’s a game where there’s one murderer and a whole bunch of civilians and the whole point of the game is for the murderer to kill people by tapping them on the shoulder or giving them some sort of sign or movement. Stevens: I thought oh, this is going to be a really clever series of people being picked off, especially surprising that Pete Davidson, maybe the biggest star in the movie, is the first one to die, Psycho style. Goffe: I get this feeling or overall sense that this is becoming a sort of trend in millennial/Gen Z sort of films, where the moral of the story is just everyone sucks all of the time. It’s kind of fun to just watch all these characters be messy, but maybe that’s also because this is just what I’m used to in terms of the entertainment that people in my generation seek out and the way we communicate with each other. Goffe: I read a lot of stuff that was really divisive about the movie, actually, some people saying that it was unfair to Gen Z, some people saying that it was right on. Stevens: It starts to come out that Sophie seems to be freshly out of rehab, that she has to some extent ghosted her friends and stopped responding to their group text chat, which is why nobody was expecting her at the house party and nobody knows about her new girlfriend who she’s bringing out of the blue. Stevens: A big question is to what extent is this a portrait of a generation, or is this just a portrait of some individual and often very annoying individuals?

Pete Davidson and his costar Rachel Sennott show off the set of the new Gen Z thriller 'Bodies, Bodies, Bodies'

“We found a McMansion that had been on the market for a few years, and thus created our world entirely inside without much limitation,” production designer April Lasky tells AD. Because it was only built in 2004, she adds, “We played into the original style, which was a grotesque early 2000s Americanized interpretation of European design: gaudy, grandiose, and not quite hitting the mark with its attempt at tasteful sophistication.” “That’s a flex.” “I’ve never seen a library with a balcony,” he says.

Pete Davidson may be a talented actor but he is still underrated, it is likely he used Kim Kardashian to gain a foothold in the industry.

Despite being part of the show, the comedian and actor, has remained underrated in the entertainment industry, and it seems like the relationship helped bring him much-needed fame. Kim Kardashian and Pete Davidson have been in the spotlight ever since they started dating. However, it seems like the publicity stunt was aimed at increasing the popularity of Pete Davidson, who had just left Saturday Night Live when the reports of his relationship with Kim K emerged.