Bones and All

Name: Bones and All
Genre: Drama, Horror, Romance
Released: November 18, 2022
Duration: 130 min
Rating: 74
Cast: Andre Holland, Chloë Sevigny, David Gordon Green, Francesca Scorsese, Jake Horowitz

2022

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Generally favorable reviews based on 54 Critic Reviews

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USER SCORE

Generally favorable reviews based on 61 Ratings

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7.1	User Score Generally favorable reviews based on 61 Ratings

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Movie Details & Credits

Metro-Goldwyn-Mayer (MGM) | Release Date: November 18, 2022 | R

Starring: Andre Holland, Chloë Sevigny, David Gordon Green, Francesca Scorsese, Jake Horowitz, Jessica Harper, Mark Rylance, Michael Stuhlbarg, Taylor Russell, Timothée Chalamet

Summary: Maren (Taylor Russell), a young woman, learns how to survive on the margins of society.

Director: Luca Guadagnino

Genre(s): Drama, Horror, Romance

Rating: R

Runtime: 130 min

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Metascore

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Critic Reviews

100

Wendy Ide

Nov 27, 2022

In the elegant balance of these seemingly incongruous elements, Guadagnino has outdone himself. Read full review

100

The Playlist Jack King

Sep 2, 2022

For all of the blood, guts, and gore, for all of the stomach-cramming gluttony, here’s a story brimming with extraordinary romanticism. What emerges, by the end, is one hell of an ode to giving yourself to the ones you love: your bones and all. Read full review

Lee Marshall

Sep 2, 2022

By the end, loving and eating, wanting and devouring are made to converge in ways that are both gruesome and fascinating, thought-provoking and oddly touching. Read full review

Anna Bogutskaya

Nov 10, 2022

The film flows like a Joy Division song: moody and ethereal until it escalates into a burst of sonic violence. Read full review

Peter Travers

Dec 2, 2022

A love story about two pretty young cannibals won’t strike everyone as an appetizing dish. But you won’t be able to take your eyes off Timothée Chalamet and Taylor Russell as they try to reconcile romance with killer impulses on a road trip through hell. Read full review

Collider Brian Formo

Sep 2, 2022

Vampire movies, which often incorporate a love story, are usually driven by the threat of discovery. The absence of that in Bones and All, despite leaving evidence all over the Great Plains, makes it a beautiful-looking movie that becomes too devoted to repeating the same note. There is no “all,” just bones. Read full review

Rex Reed

Nov 21, 2022

It’s a preposterous debacle that might work better as a Halloween skit on Saturday Night Live, but it takes itself seriously, which makes it seem even sillier. I found the result too sick and disgusting to describe, but not interesting enough to care. Read full review

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User Reviews

IndyGo

Nov 18, 2022

Beautiful, scary, emotional, disturbing. Stays with you once you've seen it. Phenomenal acting from all the cast. Great soundtrack.

2 of 8 users found this helpful26

swimmswim1226

Jan 9, 2023

很感動浪漫的電影。兩個孤獨的邊緣人互相理解, 支持, 相愛

0 of 2 users found this helpful02

NickTheCritick

Nov 29, 2022

Perhaps Guadagnino's most experimental film, a strange, imperfect, disharmonious work that hybridizes different genres - melò, horror, road movie - with abrupt leaps of tone, as if they were pieces of different films stitched together.
The first 3/4 of the films in their imperfection arePerhaps Guadagnino's most experimental film, a strange, imperfect, disharmonious work that hybridizes different genres - melò, horror, road movie - with abrupt leaps of tone, as if they were pieces of different films stitched together.
The first 3/4 of the films in their imperfection are something astounding: a rough road movie, a horror, a coming of age a love story, but, above all, a very citationist film that pays homage to the best of some of my favorite directors ever and therefore takes me by the throat. We find Van Saant (the film oozes "My Private Own Idaho" from every pore), we find blatant quotes from Kathryn Bigelow's masterpiece "Near Dark": cannibals, like Bigelow's vampires, have no alternatives, they live in a world who does not accept them and therefore they meet and form a community. The cinematography is spot on and very reminiscent of Terrence Malick's "Badlands". The director makes good use of Von Trier-like shaky camera movements (especially in the side tracking shots which are short and very fast).
The editing is truly hyper-experimental at times: it interrupts a scene in mid-suddenly only to come back to it a few seconds later. Everything often happens very (perhaps too much?) quickly and with a fleeting glance. Going back to the point, for the first 3/4 the film is breathtakingly beautiful: magnetic and imperfect like a Joy Division song.The genres are mixed without ever getting bored, the apparent sweetness given by the combination road movie + romantic coming of age drama is well balanced and dampened by truly ferocious horror moments: the meeting of the protagonist with her mother is chilling (there Guadagnino mentions himself bringing to mind a scene from his Suspiria).
It is the last act instead that which convinced me a little less: I found it too fast and hasty, for me it would have taken 20-30 minutes more to explore the figure of Sully and show us how he gets there to the two youngsters. It would have been a necessary choice to remove the handbrake in the finale and push this last act to the end: right down to the bone, as the title says.
I understand who might think that it is not Guadagnino's best film but it is a courageous (not at all pimping), romantic and dark work based on a difficult subject and which remains etched in the mind long after viewing.… Expand

1 of 4 users found this helpful13

All_ButTrU4

Dec 21, 2022

Bones and all:
I didn't think I would love this as much as I did but it has clearly proven itself amongst the best of this year. A movie adaptation of a young MA novel sees Luca Guadagnino reunit with Call Me by Your Name's Timothèe Chalamet to deliver an earnest exploration of love and it'sBones and all:
I didn't think I would love this as much as I did but it has clearly proven itself amongst the best of this year. A movie adaptation of a young MA novel sees Luca Guadagnino reunit with Call Me by Your Name's Timothèe Chalamet to deliver an earnest exploration of love and it's burdens. Taylor Russell the quietly compelling lead first seen on studio A24's Waves is spectacular alongside the Golden globe nominee. This story of a girl with an unlikely predisposition who after harming a friend is forced to try find out why she is the way she is,by finding her mother first. It's a strangely optimistic tale of kinship, self discovery and human nature that leaves you emphasizing with cannibals. Along with the performances I was enthralled by the direction:smooth shots being disrupted into chaos, aged vast southern landscapes and rustic setting. It's truly captivating cinematography just add to its power. The ending however abrupt and tragic feels fitting for a film about letting go and moving on as it is done in the most tragically beautiful way possible… Expand

0 of 2 users found this helpful02

bertobellamy

Dec 2, 2022

'Bones and All' is disturbing and weird, but all the themes it tries to cover make it feel a little unfocused. The acting is good, and the screenplay does a fine job exploring the dark corners of humanity, but I wish the ending wasn't that corny. Still, another solid work from Luca'Bones and All' is disturbing and weird, but all the themes it tries to cover make it feel a little unfocused. The acting is good, and the screenplay does a fine job exploring the dark corners of humanity, but I wish the ending wasn't that corny. Still, another solid work from Luca Guadagnino, but he has to give up on coming-of-age stories now. It's time to move on!… Expand

2 of 4 users found this helpful22

hnestlyonthesly

Jan 10, 2023

This review contains spoilers, click expand to view. Bones and All is the movie Armie Hammer would have made if he could have played himself in Call Me By Your Name. "Cannibal romance" as a phrase really hits all the pleasure centers of my damaged brain. I could not resist. So instead of being a good father, I abandoned my family late one night this week and assembled a group of similarly inclined deadbeat dads and friends.

This movie fits into a sort of five act structure, through pairing the main actress, Taylor Russell (from Vancouver! what a life where you have to constantly introduce yourself as "I'm 18 in case you're wondering" when you're really 28) with her costars: father, Sully, Lee, the hospital, and the final act. Russel was one of the very few shining stars of Escape Room, a movie (series!) that capitalized on the emergent (?!) escape room craze of the late 2010s. Her delicate voice belies a confidence and sense of self-assurance which lets her tactfully stand up to the Chief Creep of the film, Sully. Maren navigates Sully's halting talk with tact that contrasts with her comfort and ease when she finally meets Lee. Much of their roadtrip sequences are wordless tableaus of intimacy. Their chemistry is palpable, even though the film does its best to leave Maren un-sexualized except when she feeds, e.g. the way she smells the girl next to her at the sleepover, or the way she lingers voyeuristically out of sight watching Lee work his mark in the Kentucky cornfield.

Cannibalism slots nicely into a metaphor for shameful sexuality and the forbidden, care of Julia Ducournau's Raw. Some extended comparison with Raw feels fruitful. Camille DeAngelis's YA fiction horror romance was published in 2015 and Ducournau's film came out the following year in 2016, which really makes you wonder what was in the water that year that had eating humans top of mind. Raw uses cannibalism in part as a kind of vehicle for taboo sexuality, destructive, anti-social behavior, and unhealthy addiction. Until we learn about (and here are some spoilers) the past history of our protagonist's older sister, we think her obsession must be entirely her own, a horrific but unfortunate quirk. It's only when we learn that her older sister has been coping with and designing ways to live her truth comfortably that the film really takes off. In some ways, Bones and All seems to provide a counterbalance to the loneliness and isolation of Raw, asks the question how could meeting a co-dependent addict change your outlook? Raw feels like it has legs to bear the metaphorical weight of discovery of one's queer identity while also getting a lot of mileage out of the cis-het experience for young women learning how to fit in in college. Bones and All echoes some of the notes of HBO's Euphoria, the exploration of self-loathing and the joys of finding someone who encourages your base instincts rather than counseling you to be better. While we're adding television similarities, look at VE Schwab's short-lived but excellent First Kill found ways to put a spin on the vampire hunt by critiquing the violence inherent in feeding by considering and flipping power differentials of traditional gender roles. First Kill features a sister trying to teach her sibling to cope with her violent cravings.

First Kill, Raw, and Bones are all concerned with the collateral damage of one's violent and secret compulsions. First Kill and Bones consider the erotic elements of those desires, whereas Raw and Bones concern themselves internal struggle. First Kill and Bones consider genetics and family history as a means of explaining urges, whereas Raw, until we are further along, focalizes the experience of recognizing oneself as different and aberrant. Maren expresses a number of times early in the movie her disbelief that there were so many like herself, and that one could smell out others. The concept of "passing" for normal is something that the characters of each of the films and television shows plays with a lot. Luca Guadagnino, director of A Bigger Splash, has made a film that is almost perfect in every way, the perfect date movie, the perfect horror romance, something messy and hot but not unseemly for an audience coming out of a sterile and lonely time.… Expand

1 of 1 users found this helpful10

OlivierPiel

Dec 19, 2022

When Hollywood -motherfecking MGM- copies a foreign film, in this case the overall core of the French film "RAW", it eschews the cerebral aspect of art (its basic level metaphores, its musings on our relationship to our bodies, on flesh) to focus on sensual effects (whoa! argh! cannibals!When Hollywood -motherfecking MGM- copies a foreign film, in this case the overall core of the French film "RAW", it eschews the cerebral aspect of art (its basic level metaphores, its musings on our relationship to our bodies, on flesh) to focus on sensual effects (whoa! argh! cannibals! Blood! Sex! love! So exciting!) or tries to "tell a story" or worse "explain" an imagined parallel reality. And boring "realism" is the only thing Hollywood has to offer. Another perfect example here: What if there were cannibals among us, how would they survive, love etc...Pure realistic onanism. In other words, it's superficial and dumb Kleenex cinema. Besides, didn't they do that with vampires, zombies, aliens and whatnot before?… Expand

3 of 4 users found this helpful31

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