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Movie Review

Bodies Bodies Bodies hit the floor in hilarious horror comedy

Alex Bentley
Aug 10, 2022 | 1:07 pm
Maria Bakalova and Amandla Stenberg in Bodies Bodies Bodies play icon
Maria Bakalova and Amandla Stenberg in Bodies Bodies Bodies.
Photo by Gwen Capistran

People behaving badly can sometimes be among the most entertaining types of films, as the spectacle of them giving in to their basest instincts is great escapism for many who would rarely, if ever, dare to indulge in such activities. That kind of story also gives the audience permission to pass judgment over the characters, condemning their actions while still being entertained by the malfeasance.

The filmmakers behind Bodies Bodies Bodies know this, and they load their story with all sorts of scenarios that the audience can second-guess. A group of entitled twenty-something friends has gathered for a hurricane party, hoping to have some blackout revelry as the storm rolls through. The group includes Sophie (Amandla Stenberg) and her girlfriend Bee (Maria Bakalova), couple David (Pete Davidson) and Emma (Chase Sui Wonders), new couple Alice (Rachel Sennott) and Greg (Lee Pace), and the solo Jordan (Myha’la Herrold).

Along with the drinking and the drugs, they decide to play a game called “Bodies Bodies Bodies,” in which the lights are turned off, one person is secretly designated as “the killer,” and that person “kills” someone else simply by touching them. But when one of them actually turns up dead, confusion about the circumstances of that person’s death reigns supreme, and it’s not long before people starting turning on each other.

Directed by Halina Reijn and written by Sarah DeLappe, the film is a really fun play on the horror/comedy genre, accompanied by some nice digs at modern-day youth culture. The filmmakers establish early on that the group has a lot of internal strife, and the level of trust among them is relatively low for people who claim to be friends. Old rifts rise to the surface quickly, especially when things start to hit the fan.

We don’t get to know any of the characters that well, but that’s a plus for the story they’re trying to tell. Characters have over-the-top reactions to both small and big things, indicating both a hidden history among the group and the impetuousness of youth. Among the many hilarious things about the movie is the way it pokes fun at the psyches of members of Generation Z, using buzzwords like “triggered,” “safe space,” and others.

Though the film has some horror movie trappings — remote location, spotty cell service, blackouts — it’s clear that it’s not playing by strict horror movie rules. Sparse lighting in the form of glowsticks and smartphone flashlights ups the tension, often keeping the audience literally and figuratively in the dark, but the scenes induce laughter as much as they do fear. Violent acts that occur can be intense, but the petty infighting that accompanies the scenes helps lighten the mood.

The young cast is led by higher-profile actors like Stenberg, Davidson, and Bakalova, but they become a true ensemble as the film goes along. Davidson plays true to his Saturday Night Live persona, which is perfect for his role. Sennott stands out thanks to her character’s hysterics, and she steals many of the scenes she’s in. Pace is the odd man out as the oldest one of the group, but the age difference — and his performance — plays well for the story.

Bodies Bodies Bodies is a great antidote to a summer blockbuster season in which many films didn’t live up to their promise. It does a lot with a little, showcasing its cast and clever story to the utmost.

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Bodies Bodies Bodies opens in theaters on August 12.

Amandla Stenberg, Maria Bakalova, Chase Sui Wonders, and Rachel Sennott in Bodies Bodies Bodies.

Amandla Stenberg, Maria Bakalova, Chase Sui Wonders, and Rachel Sennott in Bodies Bodies Bodies
Photo by Eric Chakeen
Amandla Stenberg, Maria Bakalova, Chase Sui Wonders, and Rachel Sennott in Bodies Bodies Bodies.
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Movie Review

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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