Bodies Bodies Bodies (2022) - Movie Review

It’s been a while since a film last caught my attention purely on the basis of its cast. Like, beyond anything to actually do with the film’s contents, I knew I had to check this one out in the cinemas based purely on who’s in it. I admittedly don’t know everyone here; I hadn’t even heard of Industry or Generation before doing my usual Googling, so I didn’t know Myha’la Herrold or Chase Sui Wonders (although, credit where it’s due, I’ll definitely be keeping an eye out for them from now on). Everyone else, though? Not only is it cool just seeing this cast in a new movie on its own, but holy shit, the specific casting is downright brilliant.

The Worst Person In The World (2021) - Movie Review

This is going to be a tricky film to write about. Partly because this is a Norwegian film, a part of world cinema culture that I know even less about than what I usually cover on here (I covered the literal first Norwegian film I ever saw right here only a few years ago), but mainly because trying to encompass everything this film is going for in my usual style is a tall order. This film is a lot, and where that would normally a warning for others, I mean that in the sense that it deals in ‘a lot’. But if I had to strain and give an early summary of my thoughts on the film in a single sentence, the best I can come up with is “two hours of the most unvarnished depiction of the Millennial experience I’ve ever seen”.

Spontaneous (2020) - Movie Review

Always fun to see a screenwriter step into the director’s chair for the first time. Doubly so since, in the case of Brian Duffield, it means he can maintain control over his own story, which seems to be a recurring issue in his filmography. Any time he gets brought in as co-writer for just about anything, it doesn’t turn out well: Insurgent, the clustered production of Jane Got A Gun, even Underwater from earlier this year. And given what happened when he stepped out alone with The Babysitter, hell yeah, I want to see him continue on that path. And while his latest certainly carries a similar sense of gory fun that helped make Babysitter so damn cool, there’s also a heavy, heavy sense of melancholy to be found here as well.