‘Ridiculously fun' horror-comedy now available to watch on BBC iPlayer
A24's Bodies Bodies Bodies, one of the best horror-comedy movies of the last decade, is now available to watch on BBC iPlayer and will be broadcast on BBC Three on Tuesday night (20 May).
The film, directed by Halina Reijn and written by 'Cat Person' author Kristen Roupenian, follows a group of friends at a party. The fun takes a turn for the worse when a game of 'murder-in-the-dark' ends with a real-life death, forcing the friends to find out who is responsible.
The 2022 film features an impressive cast including SNL alum Pete Davidson, Shiva Baby's Rachel Sennott, Industry's Myha-la Herrold, Borat's Maria Bakalova, The Studio's Chase Sui Wonders and Guardians of the Galaxy star Lee Pace.
Bakalova plays the film's closest thing to a hero in the form of Bee, a timid foreigner accompanying her new girlfriend Sophie (Amandla Stenberg) to the party.
Speaking to The Independent in September 2022, she said: 'As much as it's a timeless story about human behaviour, it's pretty much capturing generations like mine and a little bit older than mine. Not that much of my mom's generation or her mom's generation.'
Upon release, fans on social media praised the film, calling it a 'ridiculously fun, sharp, dark-comedy thriller that just explodes from the seams with vision'.
'As a connoisseur of slasher films, great writing, and the best performers Gen-Z has to offer, this film is right up my alley,' said a second person.
A third fan added: 'Everyone is very hot/hilarious/horny, love a 90-minute movie. Def more comedy than horror but doesn't suffer for it in my opinion.'
In a four-star review for The Independent, Clarisse Loughrey called the film 'peak nihilistic entertainment, watching these souls try, in vain, to keep their fragile reputations in tact while they're drenched head to toe in blood.'
Elsewhere, Edward Porter for The Times said the film 'crackles with life' and features 'a caustic script, a stormy atmosphere and a talented cast.'
Katherine McLaughlin for SciFiNow writes: 'Reijn's finely orchestrated ambience of frenzy and tension is a blast to watch, and the game performances, particularly from the young ensemble cast of female actors as they savagely jump at each other's throats, deliciously ups the ante.'
The film is currently available to watch on iPlayer and will be available until Sunday 15 June. Alternatively, the film can be watched tonight (20 May) at 10pm on BBC Three.
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USA Today
6 hours ago
- USA Today
Beyoncé wishes Jay-Z happy Father's Day, honors dads during fifth show in London
Beyoncé wishes Jay-Z happy Father's Day, honors dads during fifth show in London Beyoncé Knowles-Carter delivered her fifth show on her "Cowboy Carter" tour in London, and she took a moment to wish husband Jay-Z happy Father's Day and honor all the fathers in the building before the night ended. The Grammy-winning singer kicked off her June 14 show at Tottenham Hotspur Stadium around 7:41 p.m local time. The show marked her fifth of six shows at the stadium on her Cowboy Carter and the Rodeo Chitlin' Circuit Tour. Her last show in London is set to take place June 16, before Beyoncé heads to Paris for three nights. She started the show thanking fans for their loyalty and support for her nearly three-decade career. "Every time I see all of you guys dressed up and your beautiful signs, I just feel so much gratitude inside," she told the roaring crowd as she opened the show. As fans know, Beyoncé first debuted her "Cowboy Carter" tour at SoFi Stadium in Los Angeles on April 28 with 39 songs on the set list. Her shows have been filled with family, fashion, different music genres, and most notably country music and cultural commentary. And Saturday's concert was no different as she debuted more looks and delivered a high-powered show. Toward the end of the show, Beyoncé made sure to honor Father's Day, which takes place June 15. "I want to wish all the fathers a very, very happy Father's Day," she said, and then she took a moment to give the hip-hop mogul a special shoutout as she held up the Roc diamond hand symbol, as a reference to Jay-Z and his entertainment company Roc Nation. During her fourth show in London, Beyoncé also took a moment to wish her twins, Sir and Rumi Carter, a happy birthday onstage. She promoted fans to join in the sweet moment as Rumi stood on stage. The nine-city tour will span the U.S. and Europe with the grand finale taking place in Las Vegas on July 26. Follow Caché McClay, the USA TODAY Network's Beyoncé Knowles-Carter reporter, on Instagram, TikTok and X as @cachemcclay.
Yahoo
15 hours ago
- Yahoo
‘Materialists' Is Nothing Like Your Average Rom-Com
Midway through screening 'Materialists,' the follow-up to Celine Song's Oscar-nominated 'Past Lives,' I realize I have the A24 romantic comedy all wrong — partly because the movie is a bit too serious to fit, say, the Nora Ephron standard of rom-coms. Another reason is that the film's vague synopsis hardly does justice to the poignant commentary you discover at the heart of it. In 'Materialists,' a young, ambitious New York City matchmaker finds herself caught between Mr. Right and an imperfect ex. That premise plays out clearly in the film's glittering trailer, which stars Dakota Johnson, Pedro Pascal and Chris Evans in a simmering love triangle that looks like it would swell to the typical dramatic stakes most would expect from a romantic drama. At least that's what I thought. But after watching 'Materialists,' I found that a far more compelling narrative side-stepped that familiar trope — one that thoughtfully explores the perils of love and relationships, as well as the shift in today's dating culture. That was a smart move on Song's part, saving the film's strongest elements for the full viewing experience (something I wish more contemporary movie trailers would do). The initial draw of 'Materialists' obviously lies in its charming lead cast and the allure of a new American romance that's been grossly missing from theaters. However, the deeper story that unfolds within it is just as engrossing, and more importantly, subversive to the romance genre, offering profound self-reflection in addition to the anticipated happily-ever-after. 'Materialists' follows lowly paid matchmaker Lucy (Johnson) on her quest to help her elite New York City clientele of moneyed professionals find their perfect love matches (a storyline hatched from Song's own stint as a matchmaker). Lucy's process is something like negotiating a corporate deal, which requires noting every pesky detail her clients are looking for in a prospective partner — the ideal physique, shared interests and hobbies, a college degree, a six-figure salary and 6-foot height to match for some — among other superficial traits almost too ridiculous to list. One client, a middle-aged Black woman, demands a partner who is a through-and-through conservative Republican. Another, a white man close to his 50s, refuses to budge on his maximum age requirement, because a woman in her 30s and 40s is way too old for his taste, he says (even 29 is pushing it). A 27-year-old is more his speed. Lucy tolerates her clients' shameless requests with a nod and a smile, because that's the nature of her gig: fulfill the fantasy, supply the demand and find the best possible person to get the deal done. Because matchmaking, by her high-end agency's standards, is the business of finding value in a person's best qualities, mostly those physical and financial. In a sense, Lucy knows it's a demoralizing approach to finding love, but she herself has a contradictory relationship with the concept. At an office party thrown by her co-workers to celebrate her nine-marriage success rate, Lucy credits her skills to the golden matchmaker's rule: 'If a girl asks for a tall drink of water with a salary over $500,000, you deliver.' Funny enough, Lucy is just as materialistic in her own love life. She refuses to settle down until she meets the man of her dreams — someone who's painfully, 'achingly' rich. However, she brushes off the first 'unicorn,' as she calls such handsome and wealthy rarities, she meets at a client's wedding. The unicorn in question is Harry (Pascal), a handsome, charming, tall drink of water who's very, very rich — and only has eyes for Lucy. The problem is, she doesn't think she deserves the private equity broker's money or affections (or $12 million apartment) because, in her mind, she's worthless and has nothing better to offer but her winning matchmaking services. A failed actress in debt and only raking in $80,000 a year, Lucy is convinced that Harry can do better. He thinks otherwise. Lucy offers to introduce the eligible Manhattan bachelor to other women he'd be perfect for, but, in classic rom-dram fashion, Harry is determined to court only her. But there's a fork in his plan when Lucy's complicated waiter ex, John (Evans), crashes the party. In a flashback, we learn just how much history runs deep between the matchmaker and the struggling actor: They were together for five years to be exact, according to an anniversary date that went from bad to worse. It's while running late to dinner reservations (which come with a costly no-show fee) in John's old hoopty that Lucy realizes she's tired of being a broke woman dating a broke man in New York City (with roommates). So, they break up — but now this wedding is their chance at a reunion. It's unspoken when John and Lucy embrace, having gone years without seeing each other, but there's still unfinished business between the two. And just as Lucy is making a decent living helping others find love, John swoops in to remind her who introduced her to it in the first place. That's when you think 'Materialists' is going to veer off to follow a tangled affair between Lucy and her two suitors, faced with having to choose between a promising new love and an old flame. A tale as old as time. For the most part, this plotline continues throughout the remainder of the movie. I'll skip ahead to avoid major spoilers — just know Lucy makes a choice and gets her happy ending, even if it's not the conventional one she always imagined. That's not even the most interesting half of 'Materialists.' In fact, it pales in comparison to what Song really tries to get at in her sophomore feature film: how true soul connections rebuke the shallowness of the modern dating world, where singles are more concerned with finding an aspirational kind of love that looks good on paper. 'The things that are in the movie came from the truth I learned,' Song said in the film's production notes, referencing her time as a dating consultant. 'That there is a very funny, very dark objectification of each other's humanity, and therefore a very real commodification of each other, as we go through this thing that we call dating. But it's supposed to be in pursuit of love.' That's a message the writer-director drives home in the opening scene of 'Materialists,' which shows a prehistoric cave couple exploring what could be the first human marriage, as they wordlessly exchange a flower ring symbolic of today's diamond ring proposal. But there are no expensive gems to gawk at or flashy jewelry to show off to friends, family and, in today's time, social media — just two people in love. The disconnect between that and today's superficial box-checking culture, as well as the way love is nowadays in constant conversation with money, is something Song is particularly interested in probing in 'Materialists' — even if it takes a while to round out her point. Speaking on her film's intention, Song told the Los Angeles Times: 'We're not just showing up here to be in love and beautiful and get to be in a rom-com. We're also going to take this opportunity to talk about something. Because that's the power of the genre. Our favorite rom-coms are the ones where we get to start a conversation about something.' That dialogue finally takes shape in 'Materialists' after the indulgence of a tangled love triangle, when an unthinkable client crisis bursts Lucy's bubble about her line of work. At the start of the film, we meet the matchmaker's toughest client, Sophie (Zoë Winters). Not tough because she's difficult to please, or unattractive, or not a great catch — she just desperately wants to meet a nice guy who likes her for who she is. But that breed is seemingly hard to find in NYC, as Lucy struggles to find Sophie the perfect guy. Still, her client subjects herself to the indignities of futile dates in hopes of striking gold. However, the reality of that smacks Lucy in the face when she learns that one match she sent Sophie on a date with sexually assaulted her. Lucy's boss (Marin Ireland) breaks the news, instructing her not to reach out to Sophie or get too hung up on the assault. According to Lucy's boss, if you stay in the matchmaking business long enough, sexual violence becomes pretty common. Bleak, yet true to the ugliness of the real world. Song does something bold here by venturing into darker territory. However, I struggled to understand her point of using sexual trauma as a narrative device to awaken Lucy from her own callousness and expose the exploits of an industry. It's not enough to call attention to a social issue as sensitive as this without a proper resolution. While that sobering plot helps explain why Lucy is at a crossroads in her love liaison gig, it doesn't bring much clarity to her love life. That mystery lingers at the end of the film, when Lucy finally confronts her superficial ideologies of love. Maybe it's a soul-bearing declaration from John that pushes her to that point. Or perhaps an awkward encounter with Harry about an unbelievable cosmetic surgery — seriously, you have to hear the ridiculous explanation that lives up to the movie's title. Either way, 'Materialists' leaves us with a lot to ponder after the credits roll. The film puts itself in conversation with many of its references, from 'Sense and Sensibility' to 'Pride & Prejudice,' yet still manages to contribute to the romance canon with a unique modern lens. It doesn't hinge on the gamble of love as much as it does on the observation of what many perceive love to be. Whether it's finding financial security, the ideal person to grow old with, or a soulmate you can't live without, 'Materialists' offers no easy answers there. Only a disquieting truth that the concept will always be deeply misunderstood. 'Past Lives' Will Quietly Surprise You At Every Turn 'Picture This' Doesn't Work As A Comedy Or Romance 'The Idea Of You' Is A Pretty Underwhelming Book-To-Movie Adaptation


Los Angeles Times
16 hours ago
- Los Angeles Times
How Toothless evolved for the new ‘How to Train Your Dragon': ‘We wanted him to feel like a big pet'
Whether soaring through the sky or sharing a playful moment with his human bestie Hiccup, Toothless, the dark-hued dragon with a friendly face and an injured tail, disarms you with his endearing nature. It's no surprise that he's become the emblem of the 'How to Train Your Dragon' animated movies, the first of which arrived in 2010. (There have since been two sequels, three separate TV series and five shorts.) A fan favorite among Gen-Z viewers, Toothless now returns to the big screen in a new hyper-realist iteration for the live-action remake, now in theaters. And in an unprecedented move, Dean DeBlois, who directed all three 'Dragon' animated films — as well as 2002's original 'Lilo & Stitch,' along with Chris Sanders — was asked to helm the live-action reimagining. It was his priority to preserve Toothless' essence. 'He is our most recognizable dragon within the entire assortment,' DeBlois says on the phone. 'And he has a lot of sentience and personality that comes through. And so much of it is expressed in this face that's quite Stitch-like with the big eyes, the ear plates and the broad mouth.' In fact, the entire live-action endeavor hinged on whether Toothless could be properly translated as a photorealistic dragon among human actors and physical sets, while retaining the charm of the animated movies. According to Christian Manz, the new film's visual effects supervisor, when Peter Cramer, president of Universal Pictures, initially considered the project back in 2022, he wasn't convinced Toothless would work. His touchstone for a fantastical creature that successfully achieved believability was the Hippogriff, a winged four-legged creature seen in 2004's 'Harry Potter and the Prisoner of Azkaban.' To test the viability of a new Toothless, DreamWorks enlisted British visual effects and computer animation outfit Framestore to spend three months trying to create a 'realistic' version of Toothless. Framestore has had some popular successes to its name: Paddington Bear in the film series, Dobby from the 'Harry Potter' universe and Groot and Rocket Raccoon from the Marvel movies. 'We always knew that we weren't aiming for a real dragon, as in a 'Game of Thrones' dragon,' says Manz, via video call from the U.K. Toothless' design, particularly his facial features, presented a challenge for Manz and the team at Framestore. If they made his eyes or his mouth too small or if they tried to drastically reshape his head with more naturalism in mind, he quickly lost his personality. 'His big, expressive face with eyes that are larger than any animal in the animal kingdom, including the blue whale, had to remain because, without them, we felt like we were going to be delivering a lesser version of Toothless,' says DeBlois. A stage show based on the first film called 'How to Train Your Dragon: Live Spectacular,' which toured Australia and New Zealand in 2012, radically changed the design — to a mixed response. 'Toothless was too creature-like and it just wasn't as appealing and as charming,' says Simon Otto, head of character animation for all three animated movies, via Zoom. While they may be too subtle for an untrained viewer to notice, certain design changes have been made that differentiate the live-action Toothless from his animated counterpart. 'He's now bigger, his head's smaller, his eyes are actually smaller,' says Manz. The nuanced reshaping of his head and his body was intentional: an effort to make him blend into a photorealistic world. 'The interesting thing is that when people see the live-action movie, they say, 'Oh, it's Toothless, like he stepped out of the animated movie,'' says DeBlois. 'But in truth, if you put them side by side, you'll see quite a few differences.' The texture of Toothless' body needed to be more intricate for the live-action version, so he would feel more convincingly integrated within the environments. 'In the animation, he's quite smooth,' says Manz. 'We tried very snake-like skin, but it just made him look very unfriendly. You wouldn't want to put your hand on his forehead.' Both on-screen versions of Toothless were crafted using essentially the same digital technique: computer animation. The difference here is that the one meant to share space with a flesh-and-blood world, with distinct aesthetic concerns. Even if seeking realism in creatures that only exist in our imagination might seem counterintuitive, the goal is to make them feel palpable within their made-up realm. 'One of the things I don't like about live-action remakes is they seem to try to want to replace the animated source, and I find myself very protective of it,' says DeBlois with refreshing candor. 'We tried to create a version that lives alongside it. It follows the beats of that original story, but brings new depths and expanded mythology and more immersive action moments and flying. But it's never trying to replace the animated movie because I'm very proud of that film.' Toothless as we now know him originated expressly for the screen. The Toothless in Cressida Cowell's originating book series is tiny and green (a design that can be seen in the first animated movie in the form of a minuscule dragon known as Terrible Terror). But when DeBlois and Sanders came aboard, 15 months before the 2010 release, replacing the previous directors, their first major change was to make Toothless a dragon that could be ridden. It was the screensaver of a black panther that first inspired the look of Toothless in the animated films. Otto, one of the designers who knows Toothless best (he drew the original back in 2008), recalls his real-world animal references. 'He is a mix between a bird of prey, like a peregrine falcon, with extremely streamlined shapes — of course a feline but also a Mexican salamander called an axolotl,' Otto says. Sanders' design for Disney superstar Stitch, namely his large almond-shaped eyes, ears and pronounced mouth, also influenced the design. 'There's a little bit of a design influence from Stitch in Toothless' face that makes them feel like they're distant cousins,' says DeBlois. He believes that making Toothless more closely resemble a mammal, rather than a reptile, and giving him pet-like qualities were the keys for him becoming so memorable. '[We] spent a lot of time on YouTube looking at videos of dogs and cats doing funny things,' he says. 'And we would try to incorporate a lot of that behavior into Toothless with the hopes that when people watched the movie, they would say, 'That's just like my cat' or 'My dog does that.' We wanted him to feel like a big pet. Ferocious and dangerous at first, but then a big cuddly cat after.' On the set of the live-action movie, Toothless and the other dragons existed as large puppets with simple functions, operated by a team of master puppeteers led by Tom Wilton, a performer who had worked on the 'War Horse' stage play. Using puppets was meant to provide the actors, especially Mason Thames, who plays Hiccup, a real-world scene partner. The Toothless foam puppet had an articulated jaw and articulated ear plates that allowed for a subtle, interactive performance. 'There's a performance that Dean can direct and that Mason and the other actors could act against, so that the interaction is utterly believable,' says Manz. '[The puppets] are obviously removed from the frame in the end, but it just means you believe that connection.' As for the impressive flight sequences, in which Hiccup rides Toothless, the production created an animatronic dragon placed on a giant gimbal that moved on six different axes to simulate the physics of flying. 'If the dragon was diving or ascending or banking and rolling, Mason would be thrown around in the saddle, like a jockey on a racehorse,' says DeBlois. 'And it married him to the animal in a way that felt really authentic.' For all his success in the animated realm, DeBlois has never directed a live-action film until now. 'I do commend Universal for taking a risk on me knowing that I had not made a live-action film, but also recognizing that I knew where the heart and the wonder was, and I was determined to bring it to the screen,' he says. Otto, the designer who trained Toothless before anybody else, candidly says he would have 'peed his pants' if he knew the drawings he did back in 2008 would spawn a franchise and a theme-park attraction (a re-creation of the films' Isle of Berk opened at Universal Studios Florida earlier this year). 'The most critical choice they made for the live-action was making sure the audience falls in love with Toothless,' he adds. 'And that you understand that if you have a creature like that as your friend, you wouldn't give up on it.'