Society’s infatuation with social media has grown and evolved over the years. What started with sites connecting long-distance/old friends (looking at you, Facebook) has morphed into something else. The culture constantly compares itself, making it hard for the younger generation to grow without feeling bad about themselves. Such a methodology has made it prime real estate for Hollywood to satirize the growing digital age. Halina Rejin’s (director of 2024’s Babygirl) 2022 film Bodies Bodies Bodies, attempts to skewer the idea of the obsessed digital youth.
Bodies Bodies Bodies follows a couple, Sophie (Amandla Stenberg) and Bee (Maria Balkalova), going to a hurricane party at Sophie’s friend David’s (Pete Davidson) mansion. The numerous guests include David’s girlfriend Emma (Chase Sui Wonders), an aspiring actress, podcaster Alice (Rachel Sennott), her older boyfriend Greg (Lee Pace), and the perplexing Jordan (Myha’la Herrold). Something deadly (and murderous) occurs when they play a party game to pass the time. This leads the crew of technology-obsessed teens to try and uncover the culprit as the danger rises.
The most considerable success of Bodies Bodies Bodies has to reside in the performances. Each of these actors perfectly encapsulates the Gen Z and Millennial subcultures. They convey an evident obsession with social media and falsified kindness, even when they think they’re being genuine. Every interaction (particularly from Rachel Sennott) is underplayed with a sense of false sweetness. Everyone may be a friend to each other’s faces, but their resentments are deeply seeded. It gives the film an exciting element of awkward comedy, with viewers laughing at uncomfortable situations. In these moments, Bodies Bodies Bodies is firing on all cylinders thanks to a (mostly) razor-sharp script.
Sarah DeLappe and Kristen Roupenain’s screenplay has a biting satirical edge. It’s clear from the get-go that most of the characters are not good people. They all exhibit vanity and disdain for one another, hiding behind a bubbly facade. Every line is delivered with an air of snark, adding a layer of tension in its wake. The success of that has to go in Reijn’s direction regarding the overarching piece. From the jumpstart, she films these conversations with unease between the characters. There’s apparent disdain between them, with viewers wondering when the shoe will drop. Clocking in at 94 minutes, that tension keeps viewers engaged with a steady balance of jokes. That is until certain revelations are made regarding the overall situation the characters find themselves in.
Bodies Bodies Bodies is a film that is striving to make a point about social media. The problem is that its point is not novel. To spoil the film’s point and “twist” would ruin the overall experience. So, for those still interested, I will dance around that to the best of my ability. This twist in Bodies Bodies Bodies plays out like a “gotcha!” moment to its viewers. In theory, “gotcha!” moments can be a compelling and often thought-provoking notion. In this film, that twist simply comes too late in the story.
It’s a frustrating idea for the twist to come this late in the story for one simple reason. From the start, its easy to know something is off with these wild and unpredictable events. One can only wonder if that “twist” was not given the necessary thought to become adequately fleshed out. The idea is undeniably fascinating but never lands the emotional punch it wants. The results left me somewhat disappointed by the time the credits rolled. As great as this cast is, the twist undercuts the best and funniest moments. Many of these include when the cast is simply in a room together having a conversation.
Throughout the film, each character is embodied with a sense of one-upmanship. They all want to prove themselves as being better than the other. Such an idea is quite clever for a satirical film, making some bright points. It’s brilliant when you have such a capable cast of comedic actors. Each performer knows how to mine comedy from the situation, often delivering hilarious moments. Watching them trade snarky barbs with one another is easily the biggest highlight. Once the film tries being about themes and ideas, it becomes much less enjoyable.
Looking back on Bodies Bodies Bodies after Reijn’s Babygirl was an interesting experiment. There’s a confidence sorely lacking in the former that holds it back from being great. Reijn certainly makes things sleek and stylish, but that is not enough. It feels like the style is nothing more than an attempt to compensate for a lack of substance. What’s undeniable is that watching these terrible people try to make sense of a chaotic situation is fun. That said, no matter how entertaining the journey is, a satisfying destination could have tied the piece together. The results of this make a muddled and overall narratively messy final product.
Bodies Bodies Bodies is certainly not what one would call a bad movie. Instead, it can be described as an unsatisfying one. The potential was for a sharp satire with an intense and substantive bite. Instead, we’re left with something entertaining but underwhelming. The cast does what they can with the material, providing laughs, but that isn’t enough to compensate for a simple message.
Bodies Bodies Bodies is now available on digital and on demand.
Learn more about the film at the A24 website for the title.
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