尸体游戏 Bodies, Bodies, Bodies(2022)
简介：
- 人前手牵手，闭眼下毒手！
演员：
影评：
（短评字数大超所以……）
草，笑死我了，完全就是喜剧片，请坚持看到最后。
内向的有点 nerd 气质的女孩 Clairo（更纯真版本）和她的富人女友 Beabadoobee（棕皮版）一路听着 Slayyyter 的 “Daddy AF”去参加女友朋友（一群 super rich kids）的 house party，听完 Azealia Banks 的“212”后大家开始玩狼人杀，玩到真的出了人命。
找真凶过程中警告姐妹“你没看过探案剧吗不要碰证据”，中途不忘吃 Xanax （吃糖似的，“你要来一颗吗”）和 drug，然后互相猜疑+撕逼，人都死了几位还在每句不离 bitch 地大撕，一谈到 mental issue 就瞬间心软捂着心口流泪表示“sis我懂你”（实在是太懂我们 Gen Z 啦无论什么问题只要你也有心理/精神问题那我就原谅你），但下一秒就因为“你爸妈都是大学教授你就是 upper mid class 你还装自己白手起家”（好笑的是教授之女补了句“他们任教的大学是公立的”而不是私立我真的笑喷你们这群 rich kids!!!）和“你是不是不听我的 podcast 还讨厌它”而姐妹瞬间成敌开打，小腿中枪后还要继续撕。带着主角光环和为了 Gen Z 独立音乐的未来着想，所有人死了，除了 Clairo 和 Beabadoobee。大学教授之女死前留下的遗言是对 Clairo 说记得 check Beabadoobe 的短信。
然后瞬间天亮，Clairo 与 Beabadoobee 就“让不让我看你短信”而开打，双双掉进游泳池，但好在两人都会游泳，不用纠结“是要一脚蹬她到池底见死不救，还是要救起她因为我爱她”的难题。上岸后 Clairo 做第一件事是捡手机，但捡到的不是女友的手机，而是……死去的 Pete Davidson 揭晓真相……
反正我要笑死了这个结局。看得挺开心的，感觉就是故意在反讽抓马 Gen Z，一部提示 Gen Z 沉迷 TikTok 很危险的警示片。
其實這部電影還挺有意思的，看到豆瓣的評分一度差點不想看了，畢竟是真的很低了，不過看了一下IMDB 6.3分覺得說不定是文化差異？所以還是看了一下，果然，是文化差異。
我覺得認為這部電影不好看的主要分兩類，一個是覺得這不像A24的風格，這個確實，但難道人家A2永遠只能一個風格？不能偶爾換換感覺嗎？這個不算點。
第二個就是覺得這部電影的角色很弱智。我想，看這部電影之前首先要搞清楚電影本身到底是真的低智還是在以低智的角色來自嘲。這部電影講的是一群富二代青少年的聚會，編劇不是想寫一幫普通的年輕人結果寫出來的感覺像弱智，而是編劇一開始就明確了自己寫的就是一群弱智年輕人，這個概念就不一樣了。你想想，開場就很明白了，一群Z時代的富二代們，長期就過著愛smoke，酒精和刷短視頻的生活，他們的腦子能清醒能正常嗎？所以一開始電影就很明確了，這寫的角色就是這種人。
我想這也造成了兩個代溝，一個是國與國之間的代溝，畢竟可能酒精短視頻大家都一樣，但缺一個smoke可就完全不一樣了，畢竟這才是重量級的，是直接影響思維的。另一個是年齡的代溝，有歲數的不理解年輕的生活狀態。這也是很多人打低分的原因。
其實，當明白這部電影是故意諷刺Z時代之後，在觀感上就會完全不一樣了。如果平常電影裡是這樣一群主角我肯定也會覺得這故事很弱智，但是這部電影裡卻弱智的很有意思很可愛，因為導演是展現了當代一部分美國青年的真實樣貌，因為網絡的出現，這群被手機支配長大的青少年們要說知識可能更豐富，但有時候又顯得更低智。確實是兩個極端卻又結合到了一起。
特別是電影結局真的直接升華了整個故事，諷刺度一下子拉滿了，把一個老套的故事拍出了新意，畢竟其實在之前，這種被困，然後連環殺人找兇手的故事簡直多如牛毛了，我也在一邊看一邊猜到底誰才是隱藏的兇手。但當結尾出現的時候，整個一個大反轉，不但故事變得有新意了，還是最好的諷刺，我覺得一下子提升了我對這部電影的觀感。
再加上這90分鐘的劇情還算挺流暢的，每個角色都挺有特色，也有代表性，兩個男性角色就更不用說了，皮特就是賤的要死，李就很慘了，特別像狼人殺裡，如果都是不會玩的，就會第一個票死玩的最好的，就是這麼冤枉。
所以，綜上所述，我覺得這部電影IMDB評分才是准的，豆瓣就有點，可能很多人看的時候都太沒耐心或太想當然了吧。
# （ Bodies Bodie Bodies）B+ 这部看预告觉得满蠢的，看的时候也觉得很蠢，直到结尾才意识到其实也算是挺巧妙地讽刺了“愚蠢真的可以杀死人”这句话。
虽然蠢看起来不是罪过，但是如果与蠢人在一起就知道他们的愚蠢有时候是真的很危险，不仅可能伤及自己，也可以波及他人，本片基本上就是在讲这个道理：有时明明没有邪恶的企图，还是会为自己的愚蠢买单。
所谓蠢主要就是对人对事缺乏警惕，做事不顾后果，听风就是雨，情绪激动，喜欢凑热闹，干傻事，明知道危险还是要尝试，言行随便以及二极管思维的统称。相信我们都认识这样的人。
比如这部电影里的人们会喝酒，用非法药物；在水下比赛憋气；在本来就可能停电的时候还关灯；在本来就外面有暴风雨的时候还要去一个偏远的地方开派对，还只有一辆车；才认识一个男的两周就把他带到一个偏远的地方参加派对；见到武器不知道躲开反而一直激怒对方；用大砍刀开香槟并觉得很酷。。。等等。充分展示了很多年轻人冒傻气但自己还觉得很酷的一面。
从开头的十几分钟就可以看出本片的几个主角就是这样一群有钱无脑的蠢人，每个上面说到的“愚蠢”特征都在这群人里被代表。也因此，越蠢的就越快死掉，这是永恒的恐怖片定律。
虽然故事进行中确实有些恐怖片的氛围，而且很长一部分非常黑，很费眼睛，但最终早上起来看到发生的一切还是会觉得很可笑，也觉得这部电影有必要被拍摄，具有很强的讽刺意味，特别是有必要给年轻人看。
也是因此你可能在看的时候不觉得本片有值得那么高的分数，但看完就确实意识到了它的意义。不是每一个受害者都是无辜的，很多时候一个人成为受害者真的就是单纯因为他们做事没脑子和不顾后果。但是平时这样说，总会遭到非议，说你是“众人皆醉我独醒”“受罪这有罪论”“缺乏同情心” 等等，因为蠢人永远不会承认自己蠢。这个时候你就可以把这部电影甩在他们脸上，让他们看看一群蠢人在一起会带来什么样的后果。这就是这部电影存在的必要性。因为很多时候跟蠢人讲道理也是浪费时间，他们值得遭遇一些挫折吸取教训。
侃爷可能看了本片会嘲笑Pete Davidson在这部电影里看起来很蠢，但是你知道他也笑不了多久，因为他也没强到哪去。感觉现实中如果把Pete Davidson、侃爷和卡戴珊一家关在一个偏远的房子里，很可能就会发生本片里这些事儿。
Two sophomore feature films from two woman directors which put Gen Z queer girls in the epicenter, incidentally, both starring Rachel Sennott, whose star is rising as a consummate comedienne in Hollywood. Dutch actress-turned-director Halina Reijn's BODIES BODIES BODIES is a single-location slasher with a twist in the "who" of whodunit whereas Canadian filmmaker Emma Seligman's BOTTOMS is a high-school sex romp, only fully plunging with its lethal talons in the climatic "girls vs. boys" brawl on a gridiron.
The whole story of BODIES BODIES BODIES takes place inside a stone manor house, seven people (five twenty-some longtime friends, two plus-ones) are gathered together for a hurricane party, among which Sophie (Stenberg) arrives sort of unbidden with her new girlfriend Bee (Oscar nominee Bakalova, a compelling red herring). The mansion belongs to David (Davidson, playing a slack trustafarian is right up in his alley), Sophie's best friend, who is constantly at loggerheads with Greg (Pace, a square peg in a round hole here, he is way too charismatic to play dumb), the much older new squeeze of Alice (Sennott). Then there is also Emma (Wonders), David's girlfriend, and Jordan (Herrold), who postures in a threatening vibe towards Bee. After a titular "murder in the darkness" game goes awry, death befalls them by turns, in an "And Then There Were None" fashion, against a stormy night where all power is cut and cellphones have no reception, an ever-so convenient milieu to act on one's darkest impulse and past grievances with no outside succor to seek.
Shot mostly in the darkness with light sources exclusively from cellphones, a headlight and Alice's glow tubes, Rejin's film is credibly arresting even if the death scenarios are stock, and thanks to the low visibility, they are often executed helter-skelter (no jump scares so the film is "horror" in a minor note). Audience's usual suspect swings back and forth in the wake of a similar but conspiratorial narrative syntax: Jordan may conceive a mean streak for carrying a torch for Sophie; Bee's "offense is the best defense" mettle and her fabricated back story is suspicious enough when she becomes the only "unknown quantity" left; Sophie's monkey on her back, her rebab history and alleged cheating may make her look culpable; or is it the doing of an unseen eighth person? It all leads to the final reveal, a rather silly but unexpected concoction that squares with today's social media fad and technology obsession (the film literally ends with the line "I got reception!"), a point BODIES BODIES BODIES manages to underscore along with the untrustworthy nature of Gen Z's plastic friendship and situationships.
Campiness is wrought on all cylinders in BOTTOMS, Seligman's follow-up of the rip-roaring SHIVA BABY (2020), a sharp and comical read on being Jewish and bisexual top-billing Sennott in her star-making turn. Here besties PJ (Sennott, also serving as the co-scribe) and Josie (Edebiri) are two lesbian high-school incels in New Orleans. They jump on the chance to organize a "girls fight club" with a certain degree of embroidery, in order to get closer to the objects of their respective desires: two popular cheerleaders, Brittany (Gerber, a beanpole putting on a typical glacial supermodel air) and Isabel (Liu), the latter is the official girlfriend of the school's star quarterback Jeff (Galitzine, full of himbo energy). Both PJ and Josie are punching above their weights and BOTTOMS is clear-headed enough not to simply grant their wishes, every so often, one's other half is hidden in plain sight.
The club becomes an instant success, besides acquiring self-defense skills, its members also find solidarity by empathizing with each other's experiences (which is only touched on for the sake of offering an emotional outlet). It boomerangs when the club's popularity steals the limelight from the football team, whose upcoming game with a rival school lays the final battleground for the girls to showcase what they've learnt after the club's dissolution due to debunked falsehood and a falling-out between PJ and Josie. The finale is a hog-wild donnybrook, which completely shifts the film's overall bubblegum tone to something more violent, and the resultant adrenaline rush is a real treat.
BOTTOMS is a daring protestation of "girl power and queer positivity" and a celebration of genuine friendship (the obverse of BODIES BODIES BODIES). Seligman trenchantly configures a satirical comedy with both felicity and facility (some tweaks in the script is needed though, like the frivolity of bomb-planting is ill-advised). The cast has a lot of bang for the buck, even if most of them are discernibly on the wrong side of teenagers. Both Sennott and Edebiri are phenomenal, when a dynamo meets a wallflower, their crosstalk is a wellspring of mirth and affection, the dernier cri of the coolth.
Both films pander to a young generation of audience with a pop culture-savvy attitude and a killer soundtrack, if BODIES BODIES BODIES is crimped by its own genre designation, BOTTOMS, for better or worse, is an ethos-echoing banger certainly and furthermore puts Seligman's name on the map.
referential entries: Matt Bettinelli-Olpin and Tyler Gillett's READY OR NOT (2019, 6.9/10); Emma Seligman's SHIVA BABY (2020, 7.5/10); Olivia Wilde’s BOOKSMART (2019, 6.8/10).
Title: Bodies Bodies Bodies
Year: 2022
Genre: Horror, Comedy, Thriller
Country: USA
Language: English
Director: Halina Reijn
Screenwriter: Sarah DeLappe
based on a story by Kristen Roupenian
Music: Disasterpeace
Cinematography: Jasper Wolf
Editors: Julia Bloch, Taylor Levy
Cast:
Amandla Stenberg
Maria Bakalova
Myha'la Herrold
Rachel Sennott
Chase Sui Wonders
Peter Davidson
Lee Pace
Conner O'Malley
Rating: 6.1/10
Title: Bottoms
Year: 2023
Genre: Comedy
Country: USA
Language: English
Director: Emma Seligman
Screenwriters: Emma Seligman, Rachel Sennott
Music: Leo Birenberg, Charli XCX
Cinematography: Maria Rusche
Editor: Hanna Park
Cast:
Rachel Sennott
Ayo Edebiri
Ruby Cruz
Havana Rose Liu
Kaia Gerber
Nicholas Galitzine
Miles Fowler
Marshawn Lynch
Dagmara Dominczyk
Punkie Johnson
Zamani Wilder
Summer Joy Campbell
Virginia Tucker
Wayne Pére
Rating: 7.1/10