When its title card arrived alongside a grating hyperpop song, I was worried that Bodies Bodies Bodies would be an exercise in empty, insufferable style. Bodies isn’t without an aesthetic, mind you, but it’s never as punishing as the opening might lead one to believe – its titles simply set the tone for its Gen-Z vibe, which the movie captures with varying degrees of success.
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In this age of endless reboots and remakes, it’s heartening to see that a good old-fashioned unoriginal movie can still get made. To its credit, Beast isn’t a direct rip-off of any particular man-vs.-nature flick, but it has no interest in doing anything new with the genre, and that’s fine by me.
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The Predator series has always been willing to play with its formula, tweaking its setup with each new installment to varying degrees of success. The gimmick this time around is setting the movie in 1719, depicting the alien’s “first hunt on Earth” – this tidbit comes from the trailer, and feels somewhat lazy since it’s never mentioned in the movie.
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I’m a sucker for movies set on modes of transportation. There’s something about the contained space combined with the inherent sense of momentum that makes for easy, comfortable viewing. Bullet Train understands the appeal as well, using its propulsive setting to stage a story in the curious subgenre of movies about wacky assassins.
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Nope isn’t a horror movie in the purest sense, but it contains one of the scariest sequences of the year so far – one that tops anything from Get Out in sheer nerve-fraying tension. The scene is unnecessary and borderline irrelevant to the plot, but it’s such a creepy, compelling horror short unto itself that the movie is better for its inclusion. There’s something about it that’s symbolic of Nope as a whole: sometimes confused, but gripping in the moment.
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