‘Bones and All’ review: The next great horror movie has arrived

Timothée Chalamet is back to complicate your admiration for him.

The It Boy who frightened critics and seduced fans Call me by your nameand Ladybird and little Women He takes “bad boy” to a whole new level with his performance as a cannibal bones and everything. On the surface, the road trip movie about teenagers escaping a killing spree seems to follow a tradition Badlands or Natural killers. But in the hands of director Luca Guadagnino (sobsAnd the Call me by your name), this daring adaptation of YA novel Camille DeAngelis plays closer to Interview with a vampirepresents an intoxicating tale of strange love and blood-dripping self-discovery.

In this Call me by your name A miniature reunion, Chalamet plays a young and attractive named Lee who accidentally stumbles upon the recently disowned Maren (Taylor Russell), who is on a quest to find her long-lost mother. The pair soon realized that they were “eaters,” essentially cannibals born to crave human flesh. Their sweet encounter is nothing but murder and the hasty decision to team up and take off – in a stolen truck, no less. But at the first sight they have in common, it’s clear that these two see something in each other that the rest of the world misses.

Together, Marin and Lee will hunt. They will search for the truth about Marin’s missing mother, and avoid eating others, whose savagery and crows are uniquely troubling. But can a life that eats in flight bring them anything but pain?

See also:

Bones and All’s latest trailer starts things off with a fun bite and new cannibal friends

under her skin bones and everything It is a strange love story.


Credit: Yannis Drakoulidis/Metro Goldwyn Mayer Pictures

Yes Yes. Marin is a young woman and a young man. However, in the film, Lee is presented as sexually fluid in his desires and is ridiculed with a gay fetish for the way he dresses. Beyond that, in Guadagnino’s adaptation of DeAngelis’ book, cannibalism is a metaphor for weirdness.

See also:

Shudder’s ‘Queer for Fear’ series is here to teach you LGBTQ horror

Before you swing by, keep in mind that libido has faded into the heart of horror movies ever since James Will gave us FrankensteinA tale in which a man’s desire to marry is not compared to his desire to build the man of his dreams. Does this play around a bit with the literal plot of the movie? Sure, but for decades, rampant homophobia in America has forced Hollywood filmmakers into the coffers of queer coding, from the obsessive mother sociological patient For the local partnership of vampires in vampire interview. These fearsome characters have defied gender norms, found lasting bonds in same-sex relationships, and struggle with the horror of being seen as a monster by society. bones and everything Tradition carries with it his story of coming of age set during the Reagan era.

Here, the cannibalistic libido of an opening slumber party, where the flirtation quickly escalates to a horrific bite. In Lee, Maren sees someone who understands and shares this desire. Together, they explore this dark drive, driven by the need to eat but terrified of what it might mean to find someone to share this lifestyle with. Likes interview with vampire, Scenes of devouring people have a sensual element to them. Characters slip up their clothes or walk out of murder scenes with shaggy hair. They pant and groan as they bite, claw and dig into their victims. but unlike Interview with the vampireAnd the bones and everything Don’t allow fans to faint with eaters.

bones and everything Intensely violent and not for a weak stomach.

Remember Guadagnino’s food porn? I am the love? Remember the camera patient’s depiction of every curve and detail of a delicate dish? Now, imagine that focus and fascination applied to presenting a man’s nipple being bitten right out of his chest.

bones and everything He does not hold back in his use of blood, as in the terrible Guadagnino edition of sobs. Even a ruthless horror fan like myself was panting in shock from the flesh being torn and consumed here. Such horrific content may seem out of balance with the film’s dreamy tone, which moves from case to case, month to month, in a hazy misty of lust and crime. However, Guadagnino employs the aversion in these scenes of cannibalism to reflect Marin’s self-loathing, born of her upbringing in the Ronald Reagan era, where preppy conformity was the norm and gay men dying of AIDS before an apathetic president. Her father taught her that her desires are evil and must be hidden, and so she did…until she couldn’t.

In search of her mother, Marin finds a chosen family in Lee. You also find cautionary tales, such as retarded grinning (Call me by your name Michael Stuhlbarg in a hair-raising performance) and an eccentric old solitary (Mark Rylance, who is charming and terrifying in turn). But as I began to find confidence in who you are and what you love, the images of violence changed. Her latest murder was no less bloody than her first but was filmed in a way that almost mimics a love scene, focusing more on connection than destruction. By doing so, Guadagnino creates an arc of Maren’s maturation through self-love (and yes, fictional cannibalism).

Timothée Chalamet and Mark Rylance are amazing bones and everything.

Director Luca Guadagnino on set


Credit: Yannis Drakoulidis/Metro Goldwyn Mayer Pictures

Chalamet is wonderfully represented as Lee, a dream boy who could be a nightmare. His slender frame, a mop of his sloppy-dyed pink hair, and an array of tattered floral tops play like Leonardo DiCaprio’s thrift store version of Romeo and Juliet William Shakespeare. Literally, Lee is a poor guy Leo, who prides himself on all the cuteness but on a tight budget.

Poverty is the key to understanding each of the main lovers, who – like many gay youths – have been disowned or ostracized for their own desires, and so they live on the streets, behaving in any way possible. In this storm of crisis, Chalamet is calm and breezy to calm Maren’s last nerves. But he is not narcotic, and his pain will come on venting his climax as horrific as it is strangely exhilarating.

In sharp contrast to Lee is Sully, a potential mentor who carries a soft tone with the edge of danger. Academy Award winning Rylance (spies bridgeHe could be a contender for Best Supporting Actor, that is, if the Academy can absorb his darkest scenes. The English actor with a lover’s grandfather mug walks on the edge of a razor blade between endearment and tension. In one sequence, you might desperately want to follow Marine Sully, the devious but protective bomber. The next day, your skin might be covered in goosebumps as your whole body beckons you to run, wishing you could drag a marin with you. With a closer look or a soft hiss, the Rylance can do 180 that will make your head spin and your spine tremble.

After all this , bones and everything It’s a Russell movie. Her role is far from showy, it consists of silent looks and cautious speech. But this is by design. Marin is a young woman who has been under long pressure to confine herself to a little box of what society says she should be, as it takes a good chunk of the movie to slip through the walls she’s built. As her weakness blossoms, her rocky exterior steadily crumbles, giving us access to her passion and pain. Russell’s self-control slowly but surely builds Marin’s journey, standing before the dazzling on-screen presence of her co-stars without aiming to outdo them. Her role isn’t a flashy one, but a slow burn that ignites the final act, leaving audiences in a blush.

Likes I am the love And the Call me by your name Before him, Luca Guadagnino bones and everything A romantic story so sensual that it lasts like a lover’s touch on your lips even after they’ve left.

With his most recent work, he embraces the physical horror of expressing the homophobic self that society fostered in Reagan-era America. Choosing the modern It Boy to remember those who came before, it draws older audiences into a familiar rush of teenage lust. By stacking his squad with dazzling young talent and firm supporting players, Guadagnino brings a steady stream of intensity, whether the scene is cannibalism or a pairing. They are our constant guides through the world of spit, mucus and blood. Through all this mud, chaos, and murder, the film reveals a deep sympathy for gay young men desperate to be understood and loved.

In the end, bones and everything It is as radiant romance as it is unjustifiably horrific. In this, it is not just a gem of an outlandish horror but one of the best films of 2022.

bones and everything Reviewed from the 60th New York Film Festival. The film comes to theaters on November 23.


#Bones #review #great #horror #movie #arrived

Leave a Comment

Your email address will not be published. Required fields are marked *