Opiniões dos críticos

A wild, jacked-up trip—disjunctive but somehow graceful. Kahn and his team jump across space, use slow- and fast-motion, push in on characters and switch perspectives with a mixture of finesse and aggression that’s entirely fitting for the story material. So much rap—and especially this kind of it—is about refined style applied to unrefined material, and Kahn is the man to bring it to us in movie form.

It leans hard on hot buttons and, as a result, ends up being merely push-button. It’s neither a rewarding drama nor a substantial set of ideas, but its implications and by-products, suggestions and overtones are far more enjoyable to contemplate than the movie is to experience.

It speaks to Bodied’s astonishing ambition—and obnoxiousness—that it has no serious contenders when it comes to shadowboxing against our cultural moment. If I can exercise Torontonian privilege and invoke Larsen’s fellow six-shooter Drake, Kahn’s comedy has gone “Back to Back” as the American movie of the year.

The artistry here lies in the mutations and permutations of language and rhythm that are spoken onscreen. Bodied is uneven, but it has the fire where it counts.

Any sense of bagginess in the proceedings evaporates in the film’s last 30 minutes, which piles battle raps on top of battle raps in an exercise that seems intent on exorcising every possible form of discrimination in verse. When was the last time you listened more closely to movie dialogue and it was actually worth it?

With visuals as kinetic as its language, Joseph Kahn’s “Bodied” is an outrageously smart, shockingly funny satire of P.C. culture whose words gush so quickly you’ll want to see it twice.

If anything, Kahn’s approach is a little too careful—the story proceeds slowly at times, as if the director were making sure viewers have enough time to process every idea—but his insistence on thinking things through is commendable. Also, the battle-rap sequences are generally thrilling.

It's juvenile. It's irritating. Yet it's also fiendishly clever in the way it anticipates and dismantles every argument that could be made against it, and how it sneakily affirms the power of the words it slings around so freely.

Part rap musical, part social satire, with elements of Westerns and kung fu pictures, “Bodied” is one of the funniest, freest movies of the year.

This fantasy of wild, insulting belligerence overlooks the concept of internalized racism and ignores that there really isn’t much bonhomie on the streets, any more than there is in academia’s cutthroat realm, with its hidden resentments and effortful self-delusions.

Kahn’s spectacular new movie Bodied (which was in post-production when La La Land was released) can perhaps be thought of as the anti-La La Land. . . . Kahn simply has no interest in cultural idealization and recuperation. Bodiedimplicitly follows Brecht’s maxim that we should not build on the good old days, but on the bad new ones.

The gleeful approach is too scattershot, and there's a centrist, offend-everybody-to-offend-nobody streak that would make Trey Parker proud. However, in scenes like an unexpectedly poignant showdown where two friends hurl stereotypes at themselves to avoid hurling them at each other, Bodiedstrikes beyond its parodic Instagram veneer and draws blood.