In Halina Reijn’s Bodies Bodies Bodies, five 20-somethings gather at a “hurricane party” to see out an impending cyclone.
The venue is David’s (Pete Davidson) family’s remote mansion. With the gathering underway, a couple of others walk in. Sophie (Amandla Stenberg) – David’s childhood friend – has had a stint in rehab and has a new Russian girlfriend Bee (Maria Bacalova). Sophie has professed her love for Bee, even though they have only been together for a few weeks. While Bee is working class, the most at the party are doped-up rich kids with too much time on their hands. So, what could possibly go wrong? Everything. And before this is over they will have blood on their hands … and plenty of it.
With the party under way, a game called Bodies Bodies Bodies – akin to the well-known Murder Party. It starts with tequila shots, followed by a hard slap on the face. Then the lights are turned off and they try to determine which one of them is a “murderer”. But this time, the game turns deadly and everyone is under suspicion. Of course, all profess their innocence, but that doesn’t stop the body count from growing. I recalled Agatha Christie’s And Then There Were None.
Aimed at a young adult audience, Bodies Bodies Bodies makes its mark. It’s easy to dislike these people, but that’s the point. Their behaviour – with David leading the way – hardly does any of them any favours. Most are constantly moaning and bitching. Each of the seven actors (who also include Myha’la Herrold, Rachel Sennott, Lee Pace and Conner O’Malley) are given their time to shine. They don’t disappoint.
The story by Kristen Roupenian and screenplay from Sarah DeLappe is cleverly pitched in language and tone at Gen-Z. A neat twist at the end is a winner that caps off the film nicely. Director Reijn keeps the action coming. Handheld camera movement, wind, rain and an appropriately disturbing score add to the tension.
Bodies Bodies Bodies knows its audience and keeps things strong and edgy throughout.
Alex First
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Alex First is a Melbourne based journalist and communications specialist. He contributes to The Blurb on film and theatre.
