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“Bodies” is a killer parody of Gen Z culture

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Enter the August bush, where movies tend to misfire. Not so this week. The biggest release is a bloody, bloody satire about Gen Z culture.Alongside Netflix’s “The Sandman” and Apple TV+’s “Five Days at Memorial,” the aptly titled “Bodies, Bodies, Bodies,” is a multitude of It’s a big standout, as well as a poetic indie effort featuring a brilliant performance from the brilliant Dale Dickie.

Here’s our roundup.

“body body body”: Sorry to disappoint slasher fans, but laughter counts more than horrific carnage as director Halina Rain deftly slices through Gen Z culture. Sara Delappe’s wicked script stockpiles the overused catchphrases twenty-somethings use in their texts, emails and conversations to present an annoying batch of rich friends/frenemies that could deplete the Pacific Ocean. Sophie (Amandla Stenberg) and Bea (Maria Bakalova, of “Borat Subsequent Movie” fame), new lesbian lovers, live in a secluded parent’s mansion. party crusher. Take your medicine and hang out by the pool while the hurricane hits in front of you. These friends, while personally beaten down by jealousy, secrets, lies, and social media posts that appear before, during, and after a game called “Bodies Bodies Bodies,” which they play to escape the dangers of their lives, are not themselves. I don’t know anyone at all. Overwhelming boredom. “Bodies Bodies” The mystery at the core of “Bodies” is a clever one that leads to a killer reveal and a killer final line. Everyone in the cast, especially Stenberg, Bakalova, and Lee Pace (40-year-old Peter as her bread, partying and romancing with a young tribe) screams “Bodies.” detail: 3.5 stars out of 4. In theaters August 12th.

“Sandman”: The Netflix 10-part begs to be swallowed, even though it will likely tear followers of Neil Gaiman’s massive DC Comics creative tour de force, a hallmark of dark fantasy story-building. I am sorry for the opposition. The streamer justifies Gaiman’s epic vision, which has forever remained in the film’s outline. Gaiman shares co-writing/executive producing credits with David S. Goyer, who provided “The Dark Knight” and “Dark City.” Inputs that break their boundaries are evident throughout. The first episode is a trip and introduces the moody Morpheus, also known as The Sandman (Tom Sturridge, who lives in an appearance and behavior role), a dream weaver suffering from an existential crisis. Subsequent episodes focus on his adventures with his sidekick Matthew the Raven (voiced by Patton Oswalt). His nemesis, Corinthian (Boyd Holbrook), is a serial killer with a thing for removing his victims’ eyeballs. And an encounter with the immortal beings that make up the endless family (desire, death, despair, lucifer, etc.). Each episode links with the others, but in search of more meaning, they relate separate stories as Sandman wanders past and present, both on Earth and beyond. The production values ​​are tremendous, the special effects are next-level, and showrunner Alan Heinberg has conjured the same kind of magic that made us fall in love with Gaiman’s heady world. increase. detail: 3 and a half stars. Available now on Netflix.

“Five days at the Memorial”: In this harrowing minute-by-minute chronicle of the moral and institutional failures that plagued New Orleans’ Memorial Hospital in the days after the fury of Hurricane Katrina in 2005, the opening scene sets the dark tone for what ensued. Set: 45 dead find endurance. what happened to them? who left them? These are the questions and answers featured in her 2009 Pulitzer Prize-winning research study Sheri Fink, which became poignant and poignant in her eight-part series on Apple TV+. I was. Led by writer/co-director John Ridley (Oscar winner for 12 Years a Slave) and Carlton Cuse, this is the epitome of ‘Hard Watch’. But it is an important one, demonstrating the need for tenacious fact-checking journalism that can expose institutional injustice, mismanagement, and deadly bureaucracy. The main character in “Memorial”, however, is Cherry Jones, who earned a star for her portrayal of an exhausted Dr. As Susan Malderick, Memorial’s nursing director, the actor channels the growing desperation of someone stuck in a winless role, unprepared for what’s to come and disappointed in the hospital itself. The cast is large, and Ridley and Cuse are careful to bring their characters to life when the situation becomes even more dire and the lack of emergency assistance arriving in a timely manner leads to unfathomable and irreversible decisions. pay the detail: 3 and a half stars. The first of his three episodes will be available on Apple TV+ on August 12th.

“Love Song”: Dale Dickey may not be a household name, but you’ve probably seen her at work. In his feature debut, director/screenwriter Max Her Walker Her Silverman gives Dickie the keys to the camper and she drives through every moving scene. It’s a perfect performance, one in which the slightest gesture reveals sorrow, pain, and sometimes even a brush of happiness. Dickie plays Faye, a weathered camper. She claims a spot near the lake where a special person (Wes Studi) can wait to visit. can he show That’s rubbing. While she conducts her daily rituals in her humble camper van, she finds a young girl who wishes to rebury her father (and Faye’s equipment gets in the way), and the idea of ​​​​her acquisition. Meet a lesbian couple who are wrestling with. marriage. Walker-Silverman’s introspective pace and rhythms may be frustrating for some, but they mirror the rhythms of the sad country he hears on the radio and his songs remind him of someone special. let This is a film of grace and beauty and deserves a Dickey Award. Do not pass by. detail: 3½ Performers; August 12 in theaters.

“The Leaf: Stalker”: Shark thrillers these days tend to be more bad than good, sort of like movies that don’t have much of a heartbeat or payback like Jaws. Australian director and writer Andrew Traucki’s work consists of his indie thriller where both sharks and crocodiles prey on people. His latest mixes the good and the bad of a shark thriller, but it’s clunky, ham-fisted, and smashes the parallels of a predator that goes awry. Her four athletic female travelers, including two sisters, go on what they imagine would be a fun resort vacation. The shark has other plans and soon gets on the kayak to save his life. Like all of Traucki’s films, this is a low-budget but decent production. The difference here is that it’s not a bikini. It features a strong woman in a bathing suit who stands up to her attackers. Unfortunately, the first metaphor extends itself too much. detail: 2½ Stars; now available on Shudder!

“Mac & Rita”: This bland, body-switching comedy takes us down a path of romantic rom-coms where good ideas fail to germinate, inspiration dries up, and it just hits the same numbers. “Mack and Rita” wasted a lot of talent, and 70-year-old “Aunt Rita” (Diane Keaton) was trapped inside her mature-for-age 30-year-old Mac (Elizabeth Lail), who Appears after entering. A regression pod in Palm Springs. All the characters in “Mac and Rita” are a cute house sitter (Dustin Milligan), a fake New Age guy (Simon Rex), a trusted best friend (Taylor Page), and quirky characters, including one of his It can be defined by his one sentence, an older woman (Wendy). Malik, who loves to guzzle wine). Keaton works overtime to try and keep it bubbly and cute, but everything about “Mac and Rita” falls as flat as champagne a week ago. detail: 1½ stars in theaters on August 12th.

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