Review: 'Bodies Bodies Bodies' is a sly satire of millennials, cloaked as a tense horror thriller

Equally nasty and funny, the horror-thriller “Bodies Bodies Bodies” is the sort of smart, snarky whodunnit that works because nearly every character is so unlikeable that audiences will be satisfied no matter who the killer is, or who gets killed.

A bunch of rich 20-somethings are planning to ride out a hurricane warning by partying in a mansion. The home is owned by the parents of the perpetually sarcastic Dave (Pete Davidson), who’s accompanied by his actress girlfriend Emma (Chase Sui Wonders). Alice (Rachel Sennott), who recently started her own podcast, has brought her new boyfriend, the mellow and much older Greg (Lee Pace). Jordan (Myha’la Herrold) is flying solo for this party, without her boyfriend Max (Conner O’Malley).

A late arrival, Sophie (Amandla Stenberg), Dave’s best friend since childhood, comes in with her girlfriend of six weeks, Bee (Maria Bakalova). Dave and Alice are more enthused about Sophie’s presence than Jordan and Emma, for reasons that become clearer as the night goes on.

Amid the party games, it’s Sophie who suggests they play Bodies Bodies Bodies, and — over the objections of Emma, who notes that the game always ends with people getting mad or crying — they proceed. The game goes like this: The guests draw lots, with one randomly assigned as the killer, who must “kill” another player in the dark, and then the lights come up and the players must vote on who the killer is. They play a round, and as predicted, the session ends with hurt feelings and arguments.

Not too long after that, one of the partygoers ends up dead for real, and everyone else is left trying to figure out who did it. Recriminations, accusations and suspicions start to pile up — as do the bodies, as the death count goes up and the number of suspects goes down.

Dutch director Halina Reijn, making her English-language debut, works with ruthless efficiency, using the cramped geography of the mansion to ratchet up the tension. Rookie screenwriter Sarah DeLappe’s script, adapted from a Kristen Roupenian story, plays on the modern obsession with sensitivity in language — with mentions of gaslighting, enabling and other buzzwords — to create scathing comedy and murderous tension.

The ensemble cast makes it work, playing against each other to heighten the suspense and make the jokes sting. Davidson, recently off his “Saturday Night Live” stint, and Pace engage in a sly game of toxic masculine jealousy, the real fun comes from the women — particularly Stenberg (“The Hate U Give”), Bakalova (from “Borat Subsequent Moviefilm”) and particularly Sennott (“Shiva Baby”), who’s the stealth comedy MVP as the friend desperate to prove she’s not a frivolous member of the group.

“Bodies Bodies Bodies” isn’t perfect; for one thing, the clockworks mechanics of the plot don’t always land right, particularly in the final reel. But as a biting satire of millennial interpersonal strife, it strikes a distinctive chord.  

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‘Bodies Bodies Bodies’

★★★

Opening Friday, August 12, in theaters everywhere. Rated R for violence, bloody images, drug use, sexual references and pervasive language. Running time: 95 minutes.

Review: 'Secret Headquarters' is a bland attempt at making a kid-friendly spy action movie

The kid-targeted action movie “Secret Headquarters” is a bland and uninteresting attempt to meld two oddball ideas — “Spy Kids” and “The Greatest American Hero” — and missing the boat entirely.

The prologue shows a typical family — Jack (Owen Wilson) and Lily (Jessie Mueller) and their 4-year-old son, Charlie (Louie Chaplin Moss) — on a camping trip. Then they witness a military plane collide with a UAP, an “unidentified aerial phenomenon,” or a UFO. Jack drives the family’s VW microbus to the crash site, where he meets the downed pilot, Capt. Sean Irons (Jesse Williams). They then encounter an alien probe, which scans both men, and chooses Jack as “Guardian.”

Flash-forward 10 years. Jack and Lily have divorced, and Charlie, now 14 (and played by Walker Scobell) feels like a neglected son because of all of his dad’s emergency business trips. Charlie instead obsesses over a shadowy superhero known as The Guard, who’s constantly rescuing people and averting crisis situations around the globe. The Guard’s identity is a mystery, one that Ansel Argon (Michael Peña), a billionaire defense contractor, wants desperately to find — having hired Irons to lead the global search for The Guard’s power source.

Charlie visits Jack for his birthday, and is unsurprised when his dad has to leave at the last minute. Charlie takes advantage of the situation, and invites his buddy Berger (Kevin L. Williams) over to play video games, and Berger brings over two girls from their middle-school class: Social-media obsessive Lizzie (Abby James Witherspoon), and recent transfer student Maya (Momona Tamada), on whom Charlie had a crush when they were in fifth grade.

The kids soon discover that Jack’s house has some extra features — namely an elevator that goes to a massive underground lair loaded with tons of alien technology. The other kids figure out what Charlie can’t bring himself to believe: That this is the headquarters of The Guard, and that Jack is The Guard.

The kids start playing with The Guard’s gadgets, which Irons and his team detect. Soon, Irons and Argon’s team of mercenaries are infiltrating the headquarters, and it’s up to the kids to defend The Guard’s secrets.

The directing team of Henry Joost and Ariel Schulman — who made “Catfish,” “Nerve” and “Project Power” — rewrote a much-handled script, and it’s hard to see if they improved on it. What’s on the screen are by-the-numbers fight scenes, a few lame jokes, and predictable heart-to-heart conversations between father and son. Any fan watching this on Paramount+ could, with a few days’ work, write a script of equal quality.

Viewers might recognize Scobell for a similar role — a pre-teen scarred by an absentee dad — in the time-travel Netflix action movie “The Adam Project.” (He was the young version of Ryan Reynolds character.) His chemistry here with Wilson is slightly better than what he had opposite Mark Ruffalo in that movie, but that’s probably attributable to Wilson’s laid-back charms.

The annoying part of “Secret Headquarters” is how Paramount saw it coming. The studio originally set this movie up for a theatrical run, and only in June announced it would debut on its streaming service. Consider it a blessing, that we can ignore “Secret Headquarters” in the privacy of our own homes, rather than blowing money on movie tickets for it.

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‘Secret Headquarters’

★★

Starts streaming Friday, August 12, on Paramount+. Rated PG for violence, action, language and some rude humor. Running time: 104 minutes.

Review: 'Summering' is an uneven look at girls having one last adventure on the cusp of middle-school maturity

The pre-teen drama “Summering” aims to capture a particular moment — the last gasps of childhood, before the horrors of middle school force kids to grow up in a hurry — and is so earnest in its pursuit that it’s rather sad that the movie self-sabotages its own best intentions with an unfortunate plot choice.

It’s the last weekend in August before four 11-year-old girls, who live on the same street and are friends largely because of that geography, are about to be separated as each starts middle school at a different school. The four — science-minded Dina (Madalen Mills), spiritual-minded Lola (Sanai Victoria), nervous good girl Mari (Eden Grace Redfield), and quiet Daisy (Lia Barnett) — go to their favorite place, a tree near an overpass that they’ve decorated and call Terabithia, for one last time this summer.

Near their tree, Daisy finds something else: A dead body. It’s a man, in a suit, apparently a suicide — jumping form the overpass, 100 feet above.

(Side note: This movie was filmed in Utah, where I live, and the actor who plays the corpse is a guy I know slightly; he used to work at The Salt Lake Tribune, where I work.)

The girls, too young to have ever seen “Stand By Me,” decide to solve the mystery of the dead man. Who was he? How did he end up like this? As the girls begin their sleuthing, the movie drops clues for the audience to piece together the girls’ issues with their mothers. 

Daisy has the toughest backstory: Her father disappeared a year earlier, and her police officer mother, Laura (Lake Bell), has been emotionally out of action ever since. Mari’s mom, Stacie (Megan Mullally), is a helicopter mom, even monitoring Mari’s cellphone usage. We also meet Karna (Sarah Cooper), Lola’s painter mom, and Joy (Ashley Madekwe), Dina’s mom, who keeps close track of Dina’s progress on her summer reading list.

Director James Ponsoldt (“The Spectacular Now,” “The End of the Tour”), co-writing with Benjamin Percy, neatly distills a particular vibe — that of these pre-teen girls, trying to hold on to their girlhood while knowing that the pressures of adulthood, from puberty to rebelling against their parents, are just around the corner. In its quieter moments, when the movie just allows the four young actresses to be themselves, the movie achieves that.

Alas, those moments are shoehorned into a more pedestrian narrative, driven by the detective playacting into the dead man’s identity. There are also some problematic script choices — none worse than having Daisy sneak her mom’s pistol into her backpack. 

The imbalance between the sincere moments and the forced ones throws “Summering” off track, making a potentially heartfelt movie into an intermittently interesting one.

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‘Summering’

★★1/2

Opening Friday, August 12, at the Megaplex at The District (South Jordan) and Megaplex Thanksgiving Point (Lehi). Rated PG-13 for some thematic material. Running time: 87 minutes.

Review: 'Free Chol Soo Lee' is an engrossing look at a murder case, and a movement for civil rights that was bigger than the man at the center

In the documentary “Free Chol Soo Lee,” filmmakers Eugene Yi and Julie Ha examine how a movement among Asian Americans to battle injustice emerged from one man’s troubled life.

In 1973, Chol Soo Lee was a 20-year-old Korean immigrant living in San Francisco’s Chinatown, with a criminal record. After a man was shot dead in a Chinatown intersection, part of an ongoing gang war. Cops arrested Lee, and he was tried and convicted — based on the testimony of white tourists who later admitted they couldn’t distinguish Asian features — and given a life sentence in San Quentin.

Four years into his prison term, he was attacked by a member of a white gang, whom he killed in what his lawyers argued was self-defense. An all-white jury found him guilty, and he was sentenced to the gas chamber in San Quentin.

While he was in prison, activists began to mount a campaign to free Lee, to expose the racism and shoddy detective work in the San Francisco Police Department. The campaign became a unifying event among Asian Americans in California and across the country. It helped that Lee was a charismatic interview subject, handsome and smiling as he discussed the wrong done to him by the system.

Yi and Ha have compiled a wealth of archival material, and fresh interviews with the people involved in the campaign — the most compelling being Ranko Yamada, a friend of Lee’s before his arrest, who went to law school and became a lawyer so she could be fight for Lee’s freedom and other cases of injustice.

Lee’s voice is heard in interviews, and in writings narrated by Sebastian Yoon. His words paint a portrait of a man who felt almost cursed in life, both before his arrest and through his imprisonment.

The film works because it finds the tricky balance between describing Lee’s hard life and exploring how his prison experience inspired a movement that was bigger than he was — and how he struggled to live up to those expectations.

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‘Free Chol Soo Lee’

★★★1/2

Opens Friday, August 12, at Megaplex Jordan Commons (Sandy), Megaplex at The District (South Jordan), and Megaplex Thanksgiving Point (Lehi). Not rated, but probably PG-13 for descriptions and images of violence, and references to drug use and sexual assault. Running time: 86 minutes.

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This review originally ran on this website on January 24, 2022, when the film premiered at the 2022 Sundance Film Festival.

Review: 'Bullet Train' is a ridiculously fun ride, action-packed to the point of absurdity

Exciting, action-packed and just the other side of ridiculous, “Bullet Train” is a movie that rewards viewers for paying attention to its labyrinthine plot mechanics and not thinking too much about everything else.

The train is a super-fast vehicle headed from Tokyo to Kyoto, and it seems nearly everybody on board is a contract killer or otherwise bent on violence. In the middle of it all is a luckless gun for hire, given the code name Ladybug (played by Brad Pitt), who is told by his unseen handler that he’s got an easy job: Get on the train, pick up a particular briefcase, and get off the train. Simple, right?

Wrong. For starters, the guys overseeing the case — called Tangerine (Aaron Taylor-Johnson) and Lemon (Brian Tyree Henry) — have to deliver it to a shadowy mob boss called The White Death, along with the boss’s son (Logan Lerman). Then there’s The Prince (Joey King), a coldblooded assassin in a bubblegum-colored schoolgirl outfit, who’s manipulating a junior-level mobster (Andrew Koji) with a sage warrior father (Hiroyuki Sanada). Then there’s the Mexican killer, The Wolf (played by Benito A Martinez Ocasio, aka Bad Bunny), who starts stabbing the second he lays eyes on Ladybug.

There’s a lot more happening, and more surprising faces, but I don’t want to reveal any spoilers. Besides, this is more than enough information to tide you over until you get to the theater. 

Blessed with a talented supporting cast — particularly Taylor-Johnson and Henry, who have a smart, spiky chemistry — Pitt gives a more casual performance than a bonkers action movie should have, but it works. It’s as if Pitt saw how much crazy was coming at him and decided the best way to counter was to ride it like a surfer, loose and laid back. (By the way, avoid the most recent trailers for the movie, which give away too much.)

Director David Leitch, who gave us “Atomic Blonde” and “Deadpool 2,” knows how to stage a dynamic fight scene in three dimensions, and some of the action sequences here explode with surprise. The script by Zak Olkewicz, adapting a Kôtarô Isaka novel, is a cleverly worked affair, a puzzle box of flashbacks and flash-forwards that reveals its secrets at all the proper times. It may all fall apart a day after viewing, but in the moment, “Bullet Train” is a fun ride.

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‘Bullet Train’

★★★1/2

Opens Friday, August 5, in theaters everywhere. Rated R for strong and bloody violence, pervasive language, and brief sexuality. Running time: 126 minutes.

Review: 'Prey' is the coolest, most tension-filled movie in the 'Predator' franchise. Too bad it's not in theaters.

If you want proof of screenwriter William Goldman’s observation about Hollywood, that “nobody knows anything,” look no further than what Disney is doing to “Prey.”

The bloody science-fiction thriller, the fifth in the “Predator” franchise (seventh if you count the “Alien vs. Predator” crossovers), is hands-down the best of the lot — and probably would be luring a ton of fans into movie theaters. But Disney, which now controls 20th Century Studios (formerly Fox), decided not to bother with a theatrical release, and is releasing it directly on its streaming platform, Hulu.

Too bad, because director Dan Trachtenberg’s engrossing, thrilling action movie would play audiences like a calliope, a symphony of yelling, gasping, screaming and cheering,

The story is set in 1719 in the northern Great Plains, in a Comanche village where Naru (Amber Midthunder), a young woman, aims to prove she’s as good a hunter as any of the young men, including her brother, Taabe (Dakota Beavers). When a cougar is spotted near the village, Naru wants to join Taabe in the hunting party, and is mocked by the other young male warriors.

Naru comes face to face with the big cat, but ultimately it’s Taabe who kills it and drags it back to the village. While Taabe receives the praise of the village, and the mantle of war chief from their father (Julian Black Antelope), Naru is ignored when she asks an important question: What scared the cougar enough to make it change its pattern and come close to the village?

Trachtenberg (who directed the tension-filled “10 Cloverfield Lane”) shows us what scared the cougar: The same armor-wearing, invisibility-cloaked hunter-killer that gave Arnold Schwarzenegger, Carl Weathers and Jesse Ventura a run for their money 35 years ago.

Naru, who becomes the center of the story, quickly understands the menace of this remorseless killer, but convincing the young men of her village is another challenge. She also comes across quicksand, French-Canadian fur trappers, and other obstacles before the inevitable showdown with the bloodthirsty alien.

Trachtenberg and screenwriter Patrick Aison, who share story credit, strike a deft balance between creating something new and referencing the previous films. It’s fascinating to see them adapt 300-year-old weapons to face the Predator’s laser-guided arsenal, and push Naru’s skills and strategy to the limit.

It certainly helps that Midthunder is fully committed to this demanding role, and has the chops to deliver. She gives Naru the grit and determination to make “Prey” the sort of movie you hope will spawn additional installments. Hopefully, in a movie theater next time.

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‘Prey’

★★★1/2

Starts streaming Friday, August 5, on Hulu. Rated R for strong bloody violence. Running time: 100 minutes.

Review: 'Luck,' even with John Lasseter involved, is a pale imitation of Pixar

The all-ages animated adventure “Luck” is being touted, quite loudly in some quarters, as Apple TV+’s first major foray into the territory long held by Pixar Animation Studios — with much attention to the return of Pixar’s and Disney’s former rainmaker, John Lasseter, as a producer, after an industry exile due to reports of toxic behavior.

That backstage intrigue may be fascinating to some, and it’s certainly more intriguing than the bland imitation Pixar movie that is the eye of the marketing department’s media storm.

The story centers on Sam Greenfield (voiced by Eva Noblezada), a preternaturally unlucky young woman whose life is filled with flat bicycle tires, workplace mishaps and toast always landing jelly side down. Her life, as the movie begins, has been spent in a foster home, which she is aging out of as she turns 18, with a long list of families who looked her over and decided not to adopt her.

But Sam remains a kind person, feeding her panini to a black cat, or encouraging young Hazel (voiced by Adeline Spoon), a younger denizen of the foster home, when it’s her turn to meet potential parents. When she finds a lucky penny, she’s determined to give it to Hazel — but before that happens, Sam loses the penny.

The key to getting the penny back, Sam quickly realizes, involves that cat. Turns out the cat, Bob, can speak (with the voice of Simon Pegg), and leads Sam to a secret portal to the Land of Luck. It’s a land of lucky pennies, leprechauns, ladybugs and other symbols of good luck — all overseen by a lucky dragon (voiced by Jane Fonda), who is determined to stamp out any traces of bad luck she encounters.’

What’s absent from the Land of Luck, Bob tells Sam in his most agitated voice, are humans — especially ones as unlucky as Sam. And Bob’s efforts to get Sam her own penny, and then get her home, without risking an entrance into the Land of Luck’s polar opposite, a land of bad luck.

Director Peggy Holmes and writer Kiel Murray get so into the details of luck — from Japanese waving cats to how the Scots think a black cat is good luck — that they don’t see how derivative the story is. There’s a distinct vibe of “Monsters, Inc.” another tale of a human girl infiltrating a secret supernatural world hidden from humankind.

Some of the gags — like a unicorn (voiced by comic Flula Borg) who collects bad luck — are engaging, but there’s a distinct lack of hills and valleys in Murray’s script, and it all chugs along to a predictable conclusion. The one kind of luck missing for Apple TV+ in “Luck” is beginner’s luck. 

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‘Luck’

★★1/2

Starts streaming Friday, August 5, on Apple TV+. Rated G. Running time: 106 minutes.

Review: 'Hallelujah' reveals the secrets behind 'the secret chord,' and the highs and lows of Leonard Cohen's singular career

Yes, we’ve all heard there was a secret chord that David played and it pleased the Lord — but the really good stories in the documentary “Hallelujah: Leonard Cohen, a Journey, a Song” are the ones about the man who wrote that much-loved and sometimes overused song, the Canadian singer-songwriter Leonard Cohen.

The story of Leonard Cohen starts as a kid in Montreal, Quebec, and moves to New York, where he starts working as a songwriter. Pitching one of his early songs, “Suzanne,” to Judy Collins, already a star, Collins’ response is that she’ll record the song the next day. She did and it was a hit. Collins is one of the numerous admirers of Cohen interviewed in the film.

Soon, Cohen is recording his own songs, and getting a reputation as the kind of songwriter other songwriters admire. Oddly, though, the song that would ultimately become his signature, “Hallelujah” — which took Cohen years to write — was on an album that his label, Columbia Records, refused to release in the United States.

The movie takes a circuitous route at this point, to delve into how “Hallelujah” became an iconic song. Firstly, Cohen started performing it live with a different set of lyrics, trading in the spiritual references for an earthier, more carnal flavor. Standing before the Lord of Song was out, replaced by “I remember when I moved in you / And the holy dove she was moving too.”

And soon other performers took up the song. John Cale, of the Velvet Underground, recorded a stunning cover. So did Jeff Buckley, which became so recognizable that many people — particularly after Buckley died tragically young — thought he had written it. Then, in 2001, the makers of “Shrek” put some of Cale’s cover (minus the naughty bits) in the movie, and it soon became a go-to song for stuffing a soundtrack with added emotion. (Fun fact: The “Shrek” soundtrack album used Rufus Wainwright’s cover rather than Cale’s, because Wainwright was signed to DreamWorks’ record label.)

The husband-and-wife directing team of Daniel Seller and Dayna Goldfine — whose past films include “Ballets Russes” and “The Galapagos Affair: When Satan Came to Eden” — got access to a wealth of information and footage of Cohen. They use it beautifully, including a sequence toward the end that seamlessly fuses a dozen late-career live performances of “Hallelujah,” after he had overcome his ambivalence about the song’s success, into a single sterling rendition.

If you hate the song “Hallelujah,” you won’t like this movie, because it plays Cohen’s version repeatedly, along with some striking covers — Cale and Buckley and Wainwright, of course, but also Brandi Carlile (who talks about how the song came along as she was reconciling her faith with her homosexuality) and k.d. lang, who sang the song at the Canadian memorial service after Cohen’s death in 2016. (It’s even better than her rendition during the opening ceremonies of the 2010 Vancouver Winter Olympics, which was amazing.)

If you’re not a fan of Cohen, “Hallelujah” the documentary could turn you into one, as it depicts him as a incredibly thoughtful and introspective writer, who considered songwriting a craft that improved with practice and hard work. It’s clear that Cohen could stand before that Lord of Song with a lot more on his tongue than simply “Hallelujah” — but that one song would be enough.

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‘Hallelujah: Leonard Cohen, a Journey, a Song”

★★★1/2

Opens Friday, August 5, at several theaters. Rated PG-13 for brief strong language and some sexual material. Running time: 118 minutes.