“Bodies Bodies Bodies” is the Best Gen-Z Satire Yet

This new murder mystery dismantles a group’s internal politics through a blend of humor and horror

Though marketed as a very conventional Gen Z soap opera, Bodies Bodies Bodies stands out because it is as equally self-deprecating as it is critical towards its audience. The movie is not self-righteous in its commentary and never tries to look down upon its viewers or put itself on a moral high ground. Though it leans a bit too heavily on cliches of modern language and iconography, the movie's satisfying blend of horror and comedy results in one of the most pleasant and thoroughly entertaining Gen-Z satires I've ever seen. 

Just before a hurricane hits, a group of wealthy childhood friends reunites for a summer vacation in a large mansion in the woods. Long-time grudges and newly-formed relationships leave everyone on edge, and the group embarks on an attempt to relieve the tension through a party game called "Bodies Bodies Bodies." An undercover killer is assigned to hunt down the other players while they try to weed out which person is stabbing them in the back. But when actual people start dying and the hurricane surges, the group finds the stakes heightened considerably, trapped alone without transportation, power, or access to the internet.

This sudden lack of distraction and some pretty severe stakes allow the group to finally begin confronting each other about their long-held suspicions. Comments that might have been muttered behind someone's back are now turned into full-blown shouting matches. The friction grows, and soon each person has turned against the others, their friendships shattering through a series of scenes stitched together with comedy and classic horror tropes.

Visually, Bodies Bodies Bodies is surprisingly striking - A24 usually never compromises on stellar cinematography, but this movie's production design and practical lighting are exceptionally strong. The movie also hosts a solid cast (Pete Davidson's dramatic scenes are surprisingly up-to-par), but Rachel Sennott blows every other performance out of the water. Her character, Alice, would be one of the most hated people on screen if in the hands of the wrong actor. However, her perfect comedic timing and delivery make her the star of every scene in the movie. Even during some of the weakest moments in the movie, her performance binds the scenes together and allows the film to regain its footing.

For much of the plot, the film approaches perfection. The pacing and build of tension are solid, and director Halina Reijn uses the characters' immediate transition into isolation to dismantle the group's internal politics. The slow spiral from slight social discomfort to total fear is nearly perfectly executed. My issues with the film emerge as the plot inches slowly towards the final climax. 

Throughout the film, internet slang and Gen-Z behavior seem to be depicted fairly accurately and about as in touch as a movie like this can be. However, during the third act, the film suddenly takes a turn, switching from a successfully humorous mirror of a generation's social dynamics to a more surface-level mockery that loses touch with its audience. The screenplay's previous relatability begins to dwindle. The movie starts to feel like an outsider looking in, throwing every current fad and phrase they know at the wall and hoping something will stick. Some of it does - there is still a decent amount of solid commentary that remains, but it is sandwiched between long stretches of try-hard insertion of buzzwords that no longer feel like an accurate reflection of Gen-Z social dilemmas. Though Bodies Bodies Bodies doesn't quite stick the landing, discarding much of its originality and reverting to conventions, it certainly doesn't ruin itself in the process.

OVERALL SCORE: 7/10

Bodies Bodies Bodies was released on August 5 and is currently in US theaters.