In one sentence: In Bodies Bodies Bodies, a group of wealthy twenty-somethings gather for a hurricane party, but when one of them dies during a party game, suspicion and paranoia quickly turn friends against each other.

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Some films appear superficial at first glance, the kind you might dismiss as little more than brain rot. At first, A24’s Bodies Bodies Bodies might seem to fall into that category. However, beneath its chaotic surface the film proves to be far smarter than it initially appears, exploring human psychology, generational tensions and the deadly consequences of misunderstanding.

The film follows a group of young adults plus one older boyfriend (Lee Pace), who gather for a hurricane party at David’s (Pete Davidson) parents’ lavish mansion. As the storm rages outside, they plan to pass the time drinking, taking drugs and playing a party game called Bodies Bodies Bodies. When one member of the group suddenly dies, the evening spirals into chaos as suspicion and paranoia begin to take hold.

One element that may initially alienate some viewers is the film’s Gen Z characters, who can feel almost deliberately insufferable. Their constant use of buzzwords such as toxic, triggered and gaslighting, combined with friendships built on jealousy, resentment and simmering hostility, makes them difficult to warm to. Yet the film is fully aware of this and very much leans into it. Through the use of comedic actors such as Pete Davidson and Rachel Sennott, Bodies Bodies Bodies becomes sharply self-aware, poking fun at Gen Z culture while simultaneously leaning into its tropes. Even the movie’s tagline “this is not a safe space” is a tongue-in-cheek nod to the language used by members of Gen Z. The film also reflects the generation’s positive openness around sexuality and relationships, presenting it without judgement. Being an A24 production, it is unsurprising that the film contains several layers beneath its playful surface, pushing boundaries while offering a fresh and satirical perspective.

The film is particularly interested in group psychology. Once the first death occurs, we watch as jealousy, insecurity and personal grievances begin to influence how each character behaves. Accusations are thrown around based on flimsy or unrelated theories, echoing the suspicion-driven dynamics seen in reality shows like The Traitors. As each character becomes a potential suspect, the film cleverly places doubt in both the characters’ and the audience’s minds. It captures how quickly panic can spread when trust breaks down and people begin to fear the worst of one another. The party game itself becomes a clever metaphor for the wider story. Like the game, the characters begin accusing one another based on instinct, paranoia and personal grudges rather than any real evidence.

Visually, the film makes an interesting stylistic choice by avoiding the typical dark lighting often associated with horror. Instead, much of the film is illuminated by mobile phone torches and screens, giving the setting a distinctly modern feel while also creating a harsh, almost claustrophobic atmosphere. The characters’ use of mobile phones during the film is intriguing, highlighting both the benefits and drawbacks of living in a constantly connected world. Social media and technology play an important role in the characters’ lives, yet when the WiFi goes down during the hurricane, the group quickly loses its ability to communicate or work together effectively. Ironically, the situation may not have escalated in the way it does had the characters still been able to retreat into their phones.

The setting of David’s parents’ lavish mansion also highlights the characters’ privilege. These are young people who have grown up surrounded by comfort and security, yet when faced with real conflict they appear completely unequipped to deal with it.

Overall, Bodies Bodies Bodies is far more insightful than its premise might suggest. Beneath the dark humour and satirical tone lies a clever commentary on group psychology, modern friendships and how quickly suspicion and mistrust can tear relationships apart. Ultimately, Bodies Bodies Bodies proves that misunderstanding can be just as deadly as any killer.

★★★½ (3.5/5)