A working-class woman attends a gathering with her wealthy girlfriend. When a party game turns deadly, they’ll struggle to survive the night. Bodies Bodies Bodies begins as a stylish whodunit. Director Halina Reijn turns a sprawling mansion into a claustrophobic setting. Characters squeeze through narrow halls and stairwells. A blackout forces them to rely on the lights of each other’s phones.
Things shift in the divisive third act. The survivors confront each other in a ridiculous argument. They lose all sense of self-preservation as they complain about wealth disparity, false allyship and podcasts. “Upper middle class” is used as a vicious insult. We’ve seen them ingest copious amounts of drugs and alcohol with no physical reaction. But that doesn’t justify their cartoonish behavior. The film seems to be shaking its finger at these darn kids with their feelings, their Tik-Toks and their PC language.
Some critics have called this a cutting satire of Generation Z. Others called it lazy and out of touch. Some found these people insufferable while others countered that this was the point. I found it disappointing. The characters had lost their humanity and the film had lost all stakes. Yet the film lacked the courage to go completely bonkers. It didn’t help that my audience sat silently through every pause… for… laughter. The ending left me with a shrug. “Is that it?” Though some may find it delicious.
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