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But don't be put off. "Bones and All" can be both brutal and beautiful. But the film isn't a neatly drawn parable. Maren sees that Lee only munches on the wicked, but she's looking for a way to control and maybe even conquer her habit. He certainly catches Maren's eye, who eagerly joins him in a stolen pick-up truck. He has his reasons, all of them bloody. The result is something that feels both archetypal and otherworldly. She's never known her mother.
Like the couples of those films, Maren (Russell) and Lee (Chalamet), as cannibals, are technically law-breakers. It's a match made in cannibal heaven. But while there is certainly gore in "Bones and All, " there is also beguiling poetry. He makes feasts as much as he makes films. You have the sense of seeing a movie that in shape and style reminds you of countless others.
Both films wrestle with what we inherit from our parents and what we sacrifice for the sake of conformity. But despite their best efforts, all roads lead back to their terrifying pasts and to a final stand that will determine whether their love can survive their otherness. He's perverse perfection. Now, it seems to be cannibals' turn for their bite at the apple. A mysterious man (Mark Rylance) beneath a streetlight introduces himself as Sully, and explains he could smell her blocks away. Luca Guadagnino's "Bones and All" gives them that, and more, in casting Taylor Russell and Timothée Chalamet as a pair of young cannibals in a 1980s-set road movie that's more tenderly lyrical than most conventional romances. When Maren runs home to daddy, not for the first time, they hit the road in a flash. "Bones and All, " too, yearns for a free, full-body existence.
Power lines and nuclear power plants loom in the frame early in "Bones and All. " When, in the opening scenes, Maren sneaks out of bed to visit friends having a sleepover, it's an extremely familiar set-up — right up until Maren's languorous kiss of another girl's finger turns into a crunching bite. Leading her back to a nearby house, he explains the ways of being an Eater. Sporting a mullet, a fedora and an unbuttoned shirt, his charismatic cannibal seems to be channeling James Dean. On television and the radio, we get snippets of Rudy Giuliani and Ronald Reagan. That's the movie, which deserves to stay spoiler free such are the bombshells that Guadagnino drops without warning. His fraught family history ropes in other struggles of young adulthood. Chalamet, reuniting with Guadagnino, is again in fine form. They aren't outsiders by choice. Rylance, an Oscar winner for "Bridges of Spies, " delivers a virtuoso performance as this aging predator who only feeds on those who are dying. Vampires had their day in the sun. And the sense of abandonment is piercing. Later, when he sings along to KISS' "Lick It Up, " she's a goner. Her Maren is such a sensitive, curious creature — hungry less for flesh than for affection, acceptance and a home.
Russell, who broke through as a talent to watch in "Waves" and the Netflix remake of "Lost in Space, " impresses mightily as Maren, a shy teen living with her nomadic dad (Andre Holland), who curiously locks her in her room at night. So it's both a hearty recommendation and a warning to say that he brings as much passion and zeal to the lives of the cannibals of "Bones and All" as he did to the ravenous eroticism of "I Am Love" and the lustful awakenings of "Call Me By Your Name. " It's the romantic sweetness of the two leads, even playing lovers ravaged by killer impulses, that carries you through their fiendish odyssey. Particularly in its vivid, unforgettable early scenes, "Bones and All" digs into her dawning awareness of her cravings — who she is, how she got this way, what it will cost her to be herself.
Based on Camille DeAngelis' young-adult bestseller, the movie—set in Middle America in 1988—is a tale of first love broken by an addiction stronger than drugs. Rylance, with a drawl, a feather in his hat and gothic panache, plays one of the creepier movie characters of recent years. Abandoned by her father, a young woman embarks on a thousand-mile odyssey through the backroads of America where she meets a disenfranchised drifter.
Zombies had a good run. All the actors dazzle, including Michael Stuhlbarg as another eater and David Gordon Green, who directed the new "Halloween" trilogy, as a cannibal groupie. It's a brilliant breakthrough for Russell, who made a startling impression in 2019's "Waves. " Chaos ensues, Maren flees and when she gets home, her father's rapid response makes it clear this isn't their first time rushing to uproot. Stulhbarg, you might remember, had a pivotal role as the father in "Call Me By Your Name. " As vampires were in the "Twilight" franchise, these flesh eaters are stand-ins for young outsiders—think "Bonnie and Clyde"— trying to find a home in a world of beauty and terror. The big plus is that you can't take your eyes off Russell and Chalamet.
Her father, Frank, is played by André Holland, an actor of such soulful presence I remain befuddled why he's not in everything. Will he kiss her or swallow her? If you've seen what Guadagnino can do with a peach, it should no doubt concern you what he might manage with a forearm. At a deserted bus station, Maren is stalked by Sully (Mark Rylance), a stranger danger who dresses like a deranged country singer and sniffs her out as a fellow eater. But their relationship to society is different.
Follow AP Film Writer Jake Coyle on Twitter at: On the table are an envelope with some cash, her birth certificate, and a tape recording of Frank recounting her first eating (a babysitter). Released: 2022-11-18. Rylance soon moves over for Chalamet, whose character, Lee, meets Maren while she's shoplifting. In an Indiana grocery store, Maren encounters Lee. In a startling, star-making performance, Taylor Russell plays Maren, a teenager who has just moved to a small town in Virginia with her father (André Holland). Q&A with Luca Guadagnino, Taylor Russell, and Chloë Sevigny on Oct. 6.