This review may contain spoilers. I can handle the truth.
josh’s review published on Letterboxd:
This review may contain spoilers.
“Don’t call her a psychopath, that’s sooo ableist!”
WOW. I knew this would be incredible from the moment the first cast pictures were dropped on social media. What a truly incredible film; so wickedly funny, bitingly witty and insanely entertaining. I finished this just seconds ago and my hands are shaking, I feel nauseous and also an overwhelming urge to cry?
This cast is insanely talented, from the incredible Myha’la Herrold of Industry (STREAM ON HBO AND BBC IPLAYER!) fame, to the incomparable comedic talent that is Rachel Sennott, Maria Bakalova, Amandla Stenberg and the real underdog, Chase Sui Wonders (we miss you Genera+ion on hbo max!!!!), as well as Pete Davidson and Lee Pace. The cast bounce off each other like no other cast I’ve seen before. Their chemistry but also natural hatred (for lack of better wording) that radiates towards each other in character is insane, almost like there is no other possible casting that could work as well as they do.
The filmmaking is insanely good. I’m not familiar with Reijn’s work but after this I’m dying (pun not intended) to check her filmography out. The cinematography creates a sense of claustrophobia that almost doesn’t seem possible considering just how much space there is to play around with in the mansion, but the intensity was palpable from the moment the lights shut out and the Iphone torches came out, such an incredibly simple yet effective creative decision that had my heart leaping out of my chest.
The humour is top tier, only heightened by the performances of the cast, all of whom are incredible comedic actors who have very clearly perfected their craft. When the bodies aren’t dropping, the film doesn’t miss a beat to crack a joke, poke fun at or make light of the privilege and lack of awareness the characters possess. At the forefront of my mind is Sennott’s constant back and forth between her character and everyone else. Reminiscent of her comedic work with Molly Gordon in Emma Seligman’s Shiva Baby (2020), except turned right up to the max. Like I said before, even the most timid performances, such as Bakalova and Wonders are wickedly funny and have their respective moments in the spotlight. All in all the cast only push each other to the max and create the most narcissistic and out of touch characters and relationships, a parody, and also mirror into what the internet is doing to us as human beings.
BODIES BODIES BODIES is a wickedly witty satire that ultimately takes concepts and criticisms of “Gen-Z” culture that have previously fallen flat on screen for lack of proper execution, and pushes them to the maximum a la Wild Tales (2014, Szifron), making fun of those chronically online, the rich who don’t want to acknowledge their class privilege, and the tiktokers. Everything a film should do! This is cinema!!