"Bodies Bodies Bodies" Review: A Clever Whodunnit for a New Generation

Release Date: August 12, 2022

Platform: In Theaters

Since its inception in 2012, film distribution company A24 has made quite the name for itself through focusing on genre films that convey deep themes through unique artistic expression. Their horror movies, in particular, have been at the forefront of the modern, arthouse style horror films that have defined the last decade of the genre. Highly regarded films like “The Witch,” “Hereditary,” “It Comes At Night,” and “X” have paved a trusted road for audiences searching for their next dose of smart horror. Hoping to continue building that trust around the genre is “Bodies Bodies Bodies,” a young adult-centric whodunit with trailers that promise a healthy dose of drama, drugs, and blood. Going in to a Sunday showing with only the knowledge of a single trailer, this film had all the pressure to set itself apart from the slew of similar films before it, as well as defend A24’s pronounced track record. 

On the night of a brewing hurricane, a group of wealthy friends gather to take advantage of the storm with a party at David's (Pete Davidson), one of the attendees, mansion. Included among this group is Sophie (Amanda Stenberg), a recovering drug addict who appears unwanted at the party, and her new girlfriend Bee (Maria Bakalova), a timid girl trying to navigate through the chaotic environment. After David is found with his neck slashed, relationships begin to break down as the uncertainty of the killer’s identity consumes all the senses in these, mostly intoxicated, partygoers. With the power out and new bodies to be discovered, betrayal becomes a survival strategy and secrets come to the surface as Jordan (Myha'la Herrold), Emma (Chase Sui Wonders), Alice (Rachel Sennott), Greg (Lee Pace), and the aforementioned cast fight to convince the rest that they are not the killer. For what was described as a close-knit group of friends, it seems no one really knew each other, at least not in any way that mattered. 

This movie is bookended between a set of misconceived expectations: the trailers and opening act that establishes a slasher and the conclusion that uproots the established narrative direction. The opening act introduces the slew of cast members on which the narrative will rely, sprinkled in hints for some of the character conflicts, and quickly established a commentary on the many stereotypes of Gen Z. The opening is well-paced and that is a feature maintained throughout the movie, with nary a break in story progression. Whether the thrill of uncovering the killer or the break down in cooperation between friends, there is always a conflict to maintain momentum. Even so, it is hard to nail down a good feeling for what this film actually is until the middle of the second act in an overlay of exposing accusations that fully clarified the movie's undertones and elevated its social commentary. 

It is glaringly obvious through the very direct dialogue that the movie sought to expose the misplaced values of its Gen Z cast. There are emphases on the unrivaled importance of the group chat, the threat of being silenced, the serious nature of social issues, and a slew of key aspects that have been popularly associated with Gen Z (e.g., TikTok, female armpit hair, the disappointment in not recording something, having a label for everyone). In the second act, though, those values are realized in more than just the dialogue and become exposed through the thinly held relationships between the characters and the core elements of their motivations. Every friendship and alliance, no matter how strong it was made to appear, is revealed to be shallow and predicated on circumstance more than lasting connections. The stains of this commentary spread onto every layer of the movie, solidifying it as not a Gen Z slasher, but a dark satire on this young generation. 

The plot very much mirrors the elements of its Gen Z satire. It is all just smoke and mirrors and there is little honesty to be found. The audience is led on what appears to be a series of connected killings as the survivors attempt to evade death by figuring out which among them is the threat. Instead, the characters jump to conclusions and the greatest threat proves to be their inclination to blame each other on the basis of some personal flaw: drug history (Sophie), family mental illness (Bee), combat history (Greg), or personality flaws (Jordan). It was easy to initially chalk up the unclear direction of the plot to the uneven tone and the generational focus. However, things smoothly fall into place when looked at through a satire lens. Rather than having arguments and situations that are glaringly steeped in illogical assumptions and risky responses, these happenings can now be framed in dark humor and irony. The mystery, ultimately, does not matter in the end and never really did. The character dynamics and their ever-evolving qualities are the focus of the story, with the whodunit being the vehicle that drives the characters to their breaking points and brutal honesty. Once the undelivered expectations of a slasher mystery are resolved and the focus shifts to what is actually being presented on screen, the movie remains a colorful study on weak personal connection.

The violence becomes less a shocking act of cruelty or the avenue for unknown vengeance and, instead, becomes the bold underline of a social proclamation. Each death can be traced back to a pitfall of a Gen Z stereotype and every character embodies a label all their own. Maria Bakalova is a real standout here, capturing the immigrant seeking inclusivity, and Pete Davidson, unsurprisingly, does a great job at being an entitled asshat. Each actor pulls their weight, as was needed for such a contained and focused character story. The satire becomes a bit over-insulting at times, with over-exaggerated qualities and obvious foreshadowing blurring the lines between clever and cringe. But an ever-revolving door of conflict helps push these questionable moments out of short-term memory and offers little time for harping.

This "Euphoria" meets "Scream" concept is well-written and does not leave the audience to have to read between the lines while putting everything at the forefront. There is a tonal acceptance to overcome before acknowledging the narrative's intentions, but it can be quickly resolved once recognized. A24 does it again with a twist on the social slasher, paired with a unique challenge of expectations. It may not meet the lofty threshold of similar movies that have come before it, but it certainly etches its own place of relevance.

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RATING: 🔦 🔦 🔦 🔦/ 5

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