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    Movie Review

    Bodies Bodies Bodies hit the floor in hilarious horror comedy

    Alex Bentley
    Aug 11, 2022 | 9:52 am
    Maria Bakalova and Amandla Stenberg in Bodies Bodies Bodiesplay 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.

    ---

    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

    George Clooney shines in Jay Kelly, a sharp and heartfelt look at fame

    Alex Bentley
    Nov 21, 2025 | 3:00 pm
    George Clooney in Jay Kelly
    Photo by Peter Mountain/Netflix
    George Clooney in Jay Kelly.

    The life of a celebrity is paradoxical in that your life is lived in the public eye, yet who you really are is almost unknowable. Movie history is littered with films that try to dig into the private lives of real and fictional actors, with varying results. The latest film to try to unearth what it means to be famous is Jay Kelly.

    In a perfect bit of casting, George Clooney stars in the title role as an actor who’s still world famous even if he’s edging toward the downside of his career. His coterie of helpers, including manager Ron (Adam Sandler) and publicist Liz (Laura Dern), make sure he is taken care of at every turn, often anticipating his needs before he realizes it.

    A run-in with an old friend, Timothy (Billy Crudup), sends Jay spiraling, questioning not just the meaning of his 35-plus year career, but also his relationships with his two daughters, Jessica (Riley Keough) and Daisy (Grace Edwards). Jay’s attempt to manage the crisis pits his identity as a celebrity and as a father and friend against each other.

    Written and directed by Noah Baumbach, and co-written by Emily Mortimer (who has a small role), the film has to walk the tightrope of making the audience like Jay even as he does and says things that might make him unlikable. There’s a very thin line between the character of Jay Kelly and the real life George Clooney; each is seemingly infinitely charming when dealing with the public, but they lead very different private lives.

    Baumbach takes a light approach to the story, occasionally dipping into more serious territory but never going too deep. For some, this may seem like a copout, as if he’s merely pretending to want to explore what celebrity truly is. But as you see Jay navigate his way between his work, his family, and being out among the public, little details emerge that make him increasingly complex.

    A lot of the film’s pleasure comes from the strong actors cast in relatively minor roles. There are not enough words to express what it means to have actors like Jim Broadbent as Jay’s mentor, or Greta Gerwig as Ron’s wife, or Stacy Keach as Jay’s father, or Patrick Wilson as a fellow longtime actor. Each of them and more lend an instant air of excellence to the film that elevates the story beyond its simple premise.

    Clooney may be playing a version of himself, but as the film notes on multiple occasions, playing yourself is more difficult than it seems. He is deserving of an Oscar nomination, as is Sandler, who doesn’t give off even a whiff of insincerity as a man who has given perhaps a bit too much of himself in aid of another man’s career.

    Jay Kelly is not a world-changing film, and some may accuse it of being another navel-gazing Hollywood story. But the forcefulness of Clooney’s performance, the long line of strong supporting actors, and the subtly effective storytelling by Baumbach and Mortimer (making her feature screenwriting debut) help it become much more than might be expected.

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    Jay Kelly is now playing in select theaters. It debuts on Netflix on December 5.

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